Stop Motion Production

For the shooting of the stop motion face paint, we asked Matt, the AV Technician, if we could use his room which he very kindly said yes to. We had access to a white backdrop which was good because that way the focus would be just on the model and the animation going on. Luckily, another animation student, Wing, agreed to be our stop motion model and very patiently sat whilst we painted her face! We settled on what the contents of the animation would be before we actually started, just so that we wouldn't keep Wing sat there for any longer than she needed to be!

We began by having a simple mixture of squares gradually receding up her face, which we the rubbed away from the bottom frame by frame until gone. Through out we had more colour gradually fill her face, and incorporated a mixture of shapes moving across, including dancing lemons! 

We shot this at 12 frames a second and then duplicated each frame. We figured this was something we would be able to get away with due to the method we were going for, also it would have saved us a massive amount of time. Especially considering by the end we had spent nearly a full 6 hour streak getting all of this shot! However it was really enjoyable and flowed well because we took turns with painting and manning the camera. We found that switching roles made everything just a little easier because we were less likely to get restless after doing the same thing for 6 hours. We did also have to take regular breaks because the lights we used were very hot, and we also needed to help Wing refrain from falling asleep!  

Editing!

Emma had the role of editing all of the frames together, so the next day we sat down and looked though everything. We had the unpleasant surprise of realizing that the camera had not been set on wide screen, and also the Auto White balance on the camera, and the red reflections from Molly's jumper meant that the backgrounds often changed slightly in colour. This is something we were frustrated about because it could have been avoided, however we can safely say we learnt from this mistake. This issue was fixable, but it just meant some extra, tedious editing was required! 

FILMING

Originally, we had the idea of booking out the photography studio to shoot the love action footage, because we liked the idea of having a white background to contrast with the patters. However we actually received some pretty helpful advice from Matt who we went to when we inquired about booking out the room. To begin with, we were quite stuck for time when we were trying to find a day that would work well for all of us. Also, after having a discussion with Matt we decided that using a natural background outside may potentially work better. This seemed apparent for several reasons:

• Having a natural, public environment could potentially fit better with the theme of independence. It would make more sense to have people in their everyday environments instead of something staged.
• Matt brought it to our attention that having something that looks too polished and studio based may not look as effective by the end of production. 
• Also, having  an outside environment would give us more freedom when it came to positioning. 

However before filming there were some thing we needed to consider:

• Making sure we weren't filming people against their will. We would need to be aware of the people around us, and make sure we weren't getting people in the shot who did not want to be filmed. 
• There was also the matter of making sure that the people who we were filming, understood and were comfortable with the fact that they were going to be filmed and shown publicly. 

Shooting Time!

The day of shooting was a very cold, cold day, however we powered on through and managed to get everything we wanted filmed in under an hour! We gathered together some other troopers who were willing to let us film them, also Molly and I stepped in front of the camera too so that we had enough people for the crowd! Emma was in control of the camera and took the reigns on making sure we were getting what we wanted on camera! 

The filming itself was really enjoyable because we had a big open space to work with and their wasn't a huge amount of peoplea about, apart from the occasional dog walker, so we managed to film everything with out disruption. We did get a few distant people in the shot however they would be easily cut out and animated over! 

Pattern Samples

Both Molly and I went away and produced some different samples which could potentially be turned into gifs and used for our final animations. When creating these samples, I tired to keep in mind the sort of examples we had been previously looking at. I kept the colour schemes quite bold and tried to produce a wide range of designs, in order to make sure we had plenty of variety to choose from!

As you can see, I kept up the fruit theme for a few of these designs, and kept some more simple than others. I also made sure that I was producing designs that would still look good if they were to be moved and manipulated slightly.

These designs below are the samples produced by Molly. We were all really happy with the variety of designs produced from both of us, because having two interpretations of the style we wanted allowed us to have a broader range of patterns to work from! 

Face paint and research

As part of making sure we were all on the same page in terms of style, I carried out some research in and created some annotations to go with them which matched with the ideas we were pitching during one of our meetings. I also made note of the kind of style we wanted to stay away from; we didn't want lots of swirly designs because we felt there would have been an overload on patterns otherwise and our intended style may not have come through as strongly as we wanted it to. The mood board which I created above after carrying out research shows some examples of the kind of designs we wanted and didn't want. 

Method of Animation 

The way in which we decided to animate our chosen patterns, was to create gifs of the designs, just simple ones. We then wanted to animate those moving gifs and have them moving around the chosen areas by masking them out in certain places, so only small sections of each gif would be visible. This seemed like a good idea for us, because this would have us having to animate areas that would be masked out anyway, placing one large gif behind the live action and then creating holes for it to be visible in certain places seemed to make more sense than creating lots of little gifs to be animated separately! 

So we knew that when it came to creating our own designs, we needed to keep in mind that they needed to be gif-worthy! 

Face Paint 

For the stop motion face paint animation, we either wanted to animate just on the face, or the face and neck. Again we wanted to use designs that were quite bold and well suited to be painted on somebody's face. The designs used would need to be easily animated. I carried out some further research in terms of colour and shape. Once again, going for quite bold, block type patterns seemed like the best option, because this would link better with the style for our other 3 films. 

Pattern Design

After deciding that we wanted to incorporate a lot of pattern animation, it seemed important to get an idea of the sort of pattern designs used by DAZED. As well as this, I also researched some other random examples of different geometric and colourful patterns. We also decided that we liked the idea of incorporating fruit related patterns. This was because we thought it would add some quirk to our animation and it might be something that not a lot of people will go for. 

After gathering together a mixture of examples for inspiration, it seemed obvious that the route we wanted to go down was a fun and colourful one! After also seeing examples DAZED using patterns over people’s bodies and faces, this is what made us lean more towards the idea of animating over live action. 

Research

As part of the research process, we all needed to get a better understanding of what DAZED was as a company and what sort of stuff they produced. The best way for us to do this was just to visit the DAZED site itself, as well as using other sources such  as google or pinterest to get an idea of the sort of style we needed to aim for. After gathering lots of images for reference, it seems clear that this Magazine is very experimental and actually quite odd. However I think these are qualities that make DAZED so unique. It focuses mostly in the areas of fashion and music, and the stiff shown ranges hugely from black and white to a bright mix of colour. Everything they produce is very wacky and quite strange. This is definitely something we will need to refer back to when creating our films, because we need to be able to show what kind of company this is just through these short films. 

Environmental setting

For our four films, we needed them to all have some sort of connection. The four ideas we settled on were as follows:

Dancing

We loved the idea of having somebody dancing around to music, so we could then animate over them. Aspects such as animated clothes, and patterns in the air. This would be a kind of representation of being creative and independent, as well as how important it s to be an expressive individual.

Reading

Having somebody reading a book, which would have animated patterns coming out of it and around it. This is something we thought would work well because having somebody doing such a quite everyday activity such as reading, can potentially be very inspiring, and can encourage people to be creative and independent.

The Crowd

This was probably the most cliche of the four ideas, however we knew this would work well! We wanted to film a small crowd walking and moving around in different ways with each other. We would then want to animate over the faces and bodies to give them all odd, colourful faces and clothes.

The Face

This was the idea that would be slightly different from the other three, however if done right we could make it fit! I personally love painting people's faces, and this also seemed to be something that popped up quite often when researching DAZED magazine. We decided to create a 15 second stop motion face paint animation on somebody's face. We would need to make sure that all of the patterns we used were a similar enough design to the others we planned on using.



DAZED Magazine itself is a focused around youth fashion and music culture, so this is eomthing we would need to keep a connection with all though out each film, in order for it to meet the expectations of the brief!

DAZED - Declare independence in 15 seconds

For this Collaborative brief, I grouped together with Emma, another animator on my course and Molly, who is a Illustrator. We came together because we were all interested in the Dazed brief. We felt that all of our individual interests would work well together. Emma has a particular interest in production and post-production, and Molly and I had more of an  interest in the pre-production side, so it seemed we were well fitted to work together!

For this brief, we need to produce 4 separate videos which are 15 seconds long, which all have some sort of connection and can put forward the independence of DAZED Magazine in that time frame. We decided very early on that we wanted to animate over live action footage. This was a decision we made for several reasons:

• It was something none of us had ever done before, or not done a great deal of.
• It would actually save quite a lot of time
• We felt that having a mix of live action and animation would create a lot of diversity. 

Roles

The first thing to be established was the roles we would all take. We decided that Molly and I would focus the pre-production and design work, all of us would have an input to the animating and Emma would focus more on the editing in post-production.

It took us quite a while to settle on a specific final idea for our project, because the brief in itself was quite vague. This was good because it gave us so much creative freedom, however it also made it more difficult to settle on something final, but we got there in the end!

Phonemes

In order to pin down how to animate to the audio well, both Emma and I carried out some research on the phonemes needed in order to lip sync well.

Even though the robin's beak was designed to be very small and we originally had idea of having the beak just simply opening and closing, I did some research on how the beak would form different sounds, because I thought this may look more effective and believable. 

Second Crit Feeback & Alterations

Once I had drawing out the environments and completed the textures, I then passed everything on to Emma who ha the job of placing these textures into the environments and masking them out where necessary in order to colour everything.

We had a meeting so we could go through all of these examples together and settle on potential final textures for the backgrounds and the characters themselves. Seeing all of these tests was really helpful because it allowed us both to see what textures would contrast well together and what textures would blend too much together. We managed to settle on two potential environments:

This is the wolf environment that we were both leaning towards. 

Things we liked:

• The vibrant floor
• Dark background
• The wolf with darker fur on top

Things that need considering:

• Making sure the robin's colourings aren't too similar to the wolves'. 
• Possibly reducing the amount of greenery on the rock 

Boar Environment 

Things we liked:

• light background
• more subtle ground 

Things that need considering:

• Making sure the robin doesn't clash with the boar, but also making sure it works with the wolf too
• The positioning of the boar, because this will determine how much it blends with the background. 

After much consideration, and also after getting feedback from the tutors, we decided that brown was possibly not the best colour option for the Boar, because he was blending into the background too much. Before we settled on the textures, I had produced some digital colour tests, just to get an idea of what may work and what may not work. I had previously produced a digital colour test of the boar in purple, as a possibility. It wasn't until looking at these backgrounds that we decided that choosing purple would be a better idea. 

We decided to refer back to this example above. I got cracking on producing a new texture for the boar, and it was really refreshing to be creating a texture that wasn't in dark, natural colours for a change. 

We decided that a slightly lighter purple would be best, that way the character would stand out well enough from the background. 

I'm glad we made this decision, because I think it offers a bit more diversity to our animation, and it adds more personality to his character. 

"Silenced" - Final Piece

For this final drawing for the Infected by Art brief, I was focusing on the theme of sci-fi, which was enjoyable because I love drawingthings that are strange, however sci-fi in itself isn't a theme that I have focused on very intently before. I did at first have the idea of creating a city-scape sort of piece, however with the time I had left I knew I would stuggle to get something that detailed finnished intime and I was unsure of how well I would have been able to juggle that alongside my other briefs. However I decided to go for an idea that I could potentially get completed in no more than 2 days.

To begin with I produced some rough sketches, to get an idea of the lond of thing I was going for. I knew I wanted to draw something alien related. A lot of my previous pieces of art work incoorprrate some very skeletal, alien like fgures. so I decided to stick to the style that I am used, because I knew this would helpme get through it quicker too.

The final mediums I focused on were Brusho, for the background, and fine liner, pencil and white acrylic for the figure. At first I wasnt sure if it was going to work well, becsuse the background itself turned out quite dark, however I then went on to add the acrylic, which brought the figure out from the background slightly.

I also think it helped the final thing look more three dimensional.  If I were to change anything about this piece, I would have created a more subtle background, so that the main focus of the piece would be more enhanced. Also, I do slightly regret not procusing a full body piece, I think it woud have made the whole thing in general more interesting to look at. However, I am still happy with this!

Loop - Production

Once the production of this got underway I really enjoyed working on this! I did however, come across a couple of problems and had to make a few changes to the way in which I went about it. I had originally been animating on a timeline in photoshop, however I realised how restrictive this was, so I then changed to working on different layers, which could then be exported as an image sequence and placed into AfterEffects.

Adding the Sound

The Audio for this animation was just going to be the sounds of the two toddlers. This was something that I was able to record in the studio easily. We decided that keeping it comical and slightly exaggerated would work well, because the animation itself was quite simple.

Twins & Cake

Loopdeloop - Storyboard

Even though this animation was going to be 10 seconds long, I still needed to produce a storyboard which would not only help with figuring out where to put key actions, but also where certain changes in behaviour would show through.

Also, even though these characters are only going to be seen from the side, I spent some time creating some turn arounds, because I wanted to understand how thy would look from other angles. 

LoopdeLoop - preproduction

For my second individual brief, I decided to create a 10 second Loopdeloop animation, because this is a competition I had never entered before. Also, the brief for this month was of particular interest to me. The theme was "Sisters" which is something I wanted to do because I myself have a sister, and I am surrounded by a good majority of people who also have sisters, so I thought it would be quite interesting to create an animation based around this topic.

My sister and I have quite a big age gap, so I have very few memories of us fighting. However, one of my friends is only 2 years older than her sister, so I asked her to give me some stories of times they had fought. One of the first memories she gave me, was when she accidentally broke her sister finger when fighting over the remote! I decided to take this idea and adapt it slightly.

I decided to design two very young toddlers, and instead of a remote, I chose to have them fighting over something a lot more appealing to youngsters, such as cake! This animation was only going to be 10 seconds, so I knew from the start that I wanted it to be more cute and funny than anything.


I began by doodling out a bunch of babies. It seemed like the best place to start! I knew the design of these toddlers needed to be quite round, to give them the element of appeal that I wanted.

The idea of having bows in the hair did cross my mind but I then decided that this was a bit too cliche for my liking, and a tad too gender stereotypical.

I liked the idea of having the positioning of the characters staying pretty much the same though out, because 10 seconds didn't seem like enough time to incorporate aspects such as having them run around or having a full on fight, whilst also getting to a point where it could effectively loop!

After some sketching, I settled on the design of these two characters to the right.




I was happy with these designs, because they didn't look overly girly, apart from the pink and purple playsuits, which is what I was going for. The design for each of them is very similar apart from the changes in colours for the hair, and one having curlier hair than the other. I thought that adding little changes like this would work well, because it would allow the characters to have their own individuality.

Alterations to Design

After completing the final designs for the animals, there was something about the wolf design that I just wasn't happy with and I couldn't quite pin down why. I think after working on it for so long, I needed a second pair of eyes to tell me what the problem was. Emma got what the issue was straight away!

The problem was with the wolf's snout. It didn't jut outwards enough and therefore looked very cat like, which was bound to be confusing for people. I then produced some atlered designs for the wolf, this time making sure the shape of the face was correct.

The alterations made to the snout of the wolf, seemed to make a huge difference to it's appearance and definitely made it look less cat like! Also, some of the tree textures I created weren't quite wide enough. The plan was to place the whole textures under the environments and then mask out certain areas. Therefore some of them needed to be made bigger.

I made sure that these new textures were at least A4 so that there was enough surface for Emma to work from when it came to compositing it in. 

Pinning Down the Audio

Whilst I was working on design work for the characters and environments, Emma was focusing on producing the final script. The script for this documentary would be in the style of an interview, the robin being the interviewer and the boar and wolf answering the questions.

We managed to steal Max and Matt from our class and get them to do the voice acting for the boar and wolf, and I did the voice for the robin. The process of recording this audio was actually more challening than we thought, because Max and Matt did at times get too into character and found themselves going of on a tangent. They even managed to add in an extra wolf character, named "Klouse" however we decided against keeping him in, because it would have added a significant amount to our work load! However we are open to having the character in conversation as our audio for the credits, so we may re-introducing Klouse then! 

After several recordings, we managed to get everything recorded and fit with in the time frame! Our original recordings went on for a bit too long, so we had to have a few attempts in order to make sure everything was clear, that it wasn't too long, and that the acting itself was good enough! 

The final recordings have left us with 13 seconds for other segments, such as comical pauses, and behavioral representation. 

Other Sounds That Need To Be Considered

• Background sounds such as, water/ howling wolves/ birds and the sound of feet on the ground. 

We want this documentary to sound as though it is taking place outside, so there is a chance we may go and record some outside noises ourselves, or we may research some sounds. These noises will be on going in the background through out. 

Day Time Colourings

Since we had the idea of the wolves environment being set much later in the day, we needed to take sometime to think about how this would effect the colourings of the environment. We didn't want to make thing too dark to the point where the environments and characters couldn't be appreciated. This brought us back to perspective, the trees which fall into the background will be different in colour, to give off the impression of the alteration of light. Also, fog will be animated separately over the scene, so this will also help in making the scene more mysterious and dark. 

However, we still want this character and it's habitat to be pleasant to look at because the point of this is to teach people that having wolves reintroduced will do more good than bad. So we will most likely pla around with the colour levels once they are scanned in, because this is much easier and more time efficient than producing more textures unnecessarily. 

Material Testing

Creating the textures was something that we knew just needed to be cracked on with. We began by taking an afternoon to produce some small samples together, to get an idea of colour and technique.


I also incorporated some brusho, because after previous experience using this, I knew that it could be quite useful with creating natural backgrounds, because it is a medium that naturally bleeds out onto the paper.

Once these sample pieces were produced, I was able to go away and produce some on a larger scale, so that they could then be scanned in. This stage of creating samples was actually really enjoyable and helpful, because taking out this one day to do it, actually saved me a lot of time in the long run. Once we knew which textures we liked and which we didn't, I had a base to work from, which sped the process up significantly!






The final textures which I produced needed to be appropriate for different aspects of the animation. We wanted almost everything to have a traditional texture. However, there were certain areas that we knew we wanted to keep digital due to animating purposes. The inside of the mouths, eye colourings and the robin's feet and beak would be digital.

For certain areas, such as the tree trunks and the fur of the boar, I used dry brushing over the top of the patchy textures i had produced in order to add some depth and to show that these textures are supposed to be rough. For some of the sections, such as the rock and the ground, I did produced multiple textures, so that we would have more than one to choose from. When I was producing these there were a few things i needed to keep in mind:

• The textures could be easily enhanced or saturated once they had been placed into photoshop
• Only certain sections of these textures would be visible - so I wasn't precious with them
• The colour scehem for the two environments were quite different, the boar's environment would consist of much more autumn like colours, and the wolf environment would be much more foggy. 
• These two scenes would be set at completely different times of the day, the boar's scene being set in the day and the wolf's being set more towards dusk. 

Material Research

From the beginning, Emma and I knew that we wanted to take this opportunity to use watercolour as our main medium for this animation. I am quite experienced with watercolour, so this is something I was really looking forward to! However, we both felt it was necessary to carry out some research just to make sure we both had a similar idea of how we wanted these textures to look.

Both of us have a love for the texture design used in "The Secret of Kells" and "Song of The Sea" by Cartoon Saloon. Both of us went away and produced some boards showing examples of work that we admire, and luckily we were on the same track! The use of colour spotting and multiple layers can have a really nice effect, especially when creating textures for a natural environment, so this is the route we wanted to go down. 

Abby Diamond

As part of the process of establishing how to go about texturing the animals, Emma recommended an artist to look up who works in a similar way to what we were thinking of. Abby Diamond paints animals quite freely, with looks like a mix of watercolour and inks. Researching this work was really interesting, because I was struggling at first to figure out how to go about texturing the animals. I was paying particular attention to the way in which she goes about painting feathers, At this point we were still figuring out weather or not to have the robins feathers actually painted like feathers, or to simply use the same sort of patchy texture that would be used for the body. We did decide, that keeping it patchy would be a good idea, because we wanted to keep things consistent. 

Environment Design

When it came to thinking about the background design, a lot of research into these types of environments was needed. Luckily Emma and I had done quite a bit of previous research of places where these animals have already been reintroduced, so this was a good place to start! We took the time to go out and get some Primary research carried out, so we made a day of it!

We spent some time walking around Bolton Abbey and taking photos of areas that we thought would be relevant. I also refereed back to some phots I had recelty taken on a snowy day!

One of the main things that Emma and I took from this day was noticing the range of colours that are visible in natural environments like these. Often, the mistake it made to make colours too bright or intense. However after paying close attention to what was around us, I noticed that a lot of the colours in natural environments are quite saturated. Also, there was a huge range of prespective and ground levels, which is something we will need to think about!

The use of perspective seemed to be something that kept cropping up during the research phase, and the fact that so many trees were going to be incorporated into our backgrounds made Emma and I more determined to show good use of it.  

The Forest of Dean - Devon

Emma and I both carried out research on the Forest of Dean. This is the place in Devon where boars have recently been introduced. Having images of this place to refer to is something that I knew would make the background design process much faster, because we wanted our environments to look as though they are set in these places. The first thing that came to my attention whilst researching this forest, was the insane amount of trees, and how in some areas these trees create a lot of variation in lighting.

The Bavarian Forest - Germany 

The Bavarian Forest is a national park in Germany which is home to wolves. This was an interesting place to research because it looks very distinctive. It actually matches with a typical wolf habitat, because of the tall slender trees, and the vast amount of fog. The fact that their are also lots of rocks just gives us more of a reason to have our wolf sat on a rock. The incorporation of fog is something taht we would really like to use in our animation, because not only would this fit with the environmental setting, but it would also make the scene more distinctive and separate to the boar environment. 

Position and Colour Mood Boards

Once final designs where complete, there were other aspects which needed to be figured out. The colourings and final positioning of each character had yet to be figured out. We knew the kind of positions we wanted, but the problem was making sure that these positions were drawn correctly. My experience with drawing these animals in a realistic sense was quite minimal, since this is first time I haven't ever paid this much attention on how to draw an animal correctly. 

We knew we wanted the boar to be sitting, however there are many different ways a sitting position of an animal can be drawn. This is why I created this mood board above, to get an idea of not only how his positioning could be drawn, but also what colours would work well together and what colours may clash. 

For the wolf, the positioning was much harder to finalise, as well as the colour, so I ended up creating a mood board for each. After the digital testings I had produced, I knew that the colours for this animal needed to go down a much more copper brown route. The top of the wolfs fur would be much darker and then fade down into brown. 

This mood board above also helped me to establish the final positioning for the wolf. Emma and I decided that having the wolf sitting on a rock would be a good idea because it would allow this scene to be more distinguished. It would also allow the wolf to have a more relaxed, dominating persona. Not in a threatening way, but just enough to make it obvious that this character has very little to worry about apart from looking elegant. Since there will be a range of shot framing, Emma and I decided that it would be a good idea  to have the wolf sat with its back end curled in, with just the tip of the tail sticking out. This seemed beneficial for three reasons, it would help simplify the animation process, the end of the tail could still be animated and having a range of shot framing will give us opportunity to show the wolf at a different angle anyway. 

This mood board below was a way of figuring out how bright the robin's colourings would need to be. Colourings on robins do tend to be more rusty than bright. After researching some other example of cartoon robins, it seemed apparent that a lot of them had quite harsh colourings, which isn't what I wanted. The characters needed to be bright enough to be distinctive and so that they wont blend into the background too much, however, they needed to stay relatively natural in order to fit with the purpose of this documentary. 

The shade of brown used for this character will need to be fairly light, because the boar we be a much heavier shade of brown and the wolf will be very coppery, so each character needs to be distinctive. 

Expression and Position Sheets

After producing the finalised characters, I decided that it would be necessary to produce some design sheets that would show different examples of expressions and positions, to get an idea of how each character would go about expressing itself and the kind of energy they would give off. I kept them quite rough and sketchy, and also left in the construction lines I used to draw from. I kept these in because it shows part of my creative process.

There will be certain moments during this animation where the animals show specific emotions, for example, the robin often looks quite disgusted or distressed, especially when it is in conversation with the wolf. From very early on, Emma and I decided that we wanted all of the characters to stay quite stationary. Settling on the position for the wolf and the boar was quite easy, we knew the robin would be stood, and the boar sitting, however we both carried out further research into the way in which wolves position themselves. I did use this expression sheet as a process to figuring out what position would be best to place the wolf in. 

This step was also really helpful because I was able to figure out how the robin would express emotion through her eyes. In her design, she does not have eyebrows, so instead I decided to use the lining above her eyes which separates the belly colourings and the outside colourings. After playing around with different expressions it became clear that using this line as the eyebrow would work really well with portraying emotion. 

Final Designs and Colour Tests

Once I had taken note of the feedback I got from Emma, I then produced some final designs. I did the final drawings in black final liner to get a better idea of how they would look once drawn up digitally. I also produced a turn around sheet for each character, to get a better idea of their shape at a full 360 angle. Both Emma and I were really pleased with these final designs, because each character adds it's own element of appeal. 

Colour Tests

Even though the textures of these characters are to be dine with watercolours, I decided to produce some quick colour testings in Photoshop just to get an idea of what colours would work and which colours wouldn't. After sharing this with Emma it became apparent that we both liked the slightly darker robin, and the dark boar, because both of these examples will fit in better with the environment design. However, we did decide that the colourings of the wolf needed to be more like copper and less grey. The quickest way to settle on some final textures was just to get on with experimenting and creating lots of samples.