Spider man animated11/14/2022 ![]() ![]() Those are the three big elements at play: This appreciation and curation of the subject, the graphic simplification of the real world and the comic book texturing. It was a major undertaking by our incredible team at Imagework, who deserve all the praise in the world for their hard work. Our lighting is actually rendering in these halftones. Then we were bringing in the halftones, because that’s old school comic book DNA, as well, where you would have these halftone patterns that you’d rub on that would become your grades. So we decided, all the focus is done with a CMYK offsetting like you’d get off a four-pass printing press. Despite our best intentions, you still need a “lens” that can focus. At first it was a real problem because you’d get a lot of chatter. The film actually has no motion blur in it, but, instead, borrows from certain anime techniques to replicate the feeling of motion with a frame. To stay true to the medium, we decided to go with a CMYK offsetting as our blur. Anything that would help make uniquely placed in its environment is something we would double down on while at the same time, there were a number of aspects that were completely omitted.Ī lot of the textures that you have in there feel very hand-hewn, but it looks like you’re bringing in the printed comic book roots in other visual ways. We hand-painted a lot of our textures in an impressionistic way, because for us, it’s the type of film, and the type of character, that would have an appreciation for a brick wall or a New York street. There’s a lot of unnecessary information floating around the world, so we were really selective as to which bits of information to omit and which ones we should overemphasize. But it’s also a very curated look, in the sense that we’re paying attention to the details of city life and reality that, to me, a lot of animated films kind of gloss over, like the graffiti, or gum stuck on the mailboxes, as well as the complexity of the textures. From a design point of view, it’s about being very selective about shapes and value structure and hues, in order to get a really clean read on things. Patrick O’Keefe: From the get-go it was about this reductive graphic style, where we took the real world and blended it with the comic book world. What did the initial pitch look like, from the design side? Polygon: Plot-wise, Spider-Verse is a wild ride, with a lot of different Spider-People involved, and a real mix of different styles and elements. And then, stretching the boundaries of the design as far as possible without breaking the whole thing.īelow, O’Keefe discusses his graphics-laden trip through the multiverse, and presents six exclusive concept art images from the Spider-Man: Into the Spider-Verse production. ![]() cool? According to Patrick O’Keefe, one of the film’s two art directors, it was all about basic principles: Appreciation of the printed comic book form itself, the graphic simplification of animation, and admiration of live action cinematography. But how did the filmmakers push technology and design to pull off the movie? Ahead of the film’s official release on Thursday, Spider-Verse is already scooping up awards and positive critical reception for its fresh, eye-popping visual take on the familiar superhero story. In a crowded year of Spider-Man news, Spider-Man: Into the Spider-Verse has stood out from the animated pack since its first teaser images dropped. ![]()
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