Initial composition and shape language tests for the clouds. The direction of the scene was tranquil and beautiful with the environment making the character feel small but full of wonder so I wanted to create compositions that played with scale and pushed an overwhelming yet calm view. I pushed in two vastly different directions at first with the base iteration and then moving into a much sharper composition. The last iteration was the one we ended up developing more as it provided a good in-between.

Initial composition and shape language tests for the clouds. The direction of the scene was tranquil and beautiful with the environment making the character feel small but full of wonder so I wanted to create compositions that played with scale and pushed an overwhelming yet calm view. I pushed in two vastly different directions at first with the base iteration and then moving into a much sharper composition. The last iteration was the one we ended up developing more as it provided a good in-between.

These served as testing the waters for how a full rendering would go. I played with colors, brushes and layers and learned a lot about how I should approach future illustrations. These tests lacked clarity, lights and darks were not far enough in value so the image blurred together in several places.

The key on the right was created after the newest composition had been decided on and was mainly to test value and atmospheric perspective between layers.

During this process, I was essentially creating 2 different images: the start frame, and the end frame. This shot was going to be tracking the car through the clouds, so keeping separate layers and seeing how they would look taking parallax into account was important for future testing. We wanted there to be some leading lines pointing at the car so I made sure to include some in the shape language of the clouds, slowly revealing them and creating a more idealized composition as the clouds moved.