The SaltMarsh is my second animated short. It is a work in progress, between assignments. The backgrounds shown here are first composed in storyboard form. The boards have enough detail to serve as a decent shot layout. From there I work on rough, cold press watercolor paper. I produce a black and white tonal painting with Japanese stick ink and traditional brushes. Next, I scan the painting on a large, high quality flatbed scanner. The painting is digitally colored, and eventually composited using a virtual After Effects camera.
After traveling in Nepal, Japan, Peru, Hawaii and a lot of the American west, mostly with dusty boots and a backpack, I sat and pondered the pile of film I’d shot. I had worked in-house so much at agencies, production facilities and networks, that I’d never had time to animate something for myself. This was the time to start. The first thing I did was start drawing environments. Below are a few of the results.