If I remember correctly, in Part 1 – which can be found here – we were discussing the challenges of faithfully reproducing such a unique blend of patterns, textures, and colors.
So here we have:
1. The Special Color Palette which was mixed, tested, and refined (along with formulaic notations on how to make more if I ran out. As ever, I used Winsor & Newton Designers Gouache.)
2. A few models for how things worked: window-curtain folds or the way patterned fabric curves around a frame – as in the case of the unique lounge chair. (That chair was tricky. It seemed so chaotic and freewheeling, initially I tried drawing it without measuring or planning. The result was terrible. Reminding me of the harsh fact that very little can be skimped on – particularly capturing a feeling of wildness or randomness – if you want to get things right.)
3. And of course the final artwork. Penciling … adding texture and shadow … and lastly color (which, for the first time, I did by painting everything else before the people.) With so much detail, I don’t think it can be really experienced unless seen up-close. So I’m including a cropped image followed by the whole, finished piece.
I also want to point out – which I failed to do in Part 1 – that this is fundamentally an illustration OF a work of art. This traincar interior … all the trains … the whole rest of the movie … was designed by Mark Friedberg. The props were created, gathered, curated by Sandy Hamilton. The costumes were designed by Milena Canonero. And the whole thing was photographed by Bob Yeoman.
I admit we knew we’d get in trouble. That part’s true. We knew people would be worried, and we still ran away, anyway. But something also happened, which we didn’t do on purpose. When we first met each other, something happened to us.