For the layouts of the first half of the film, it was important to keep a blue/grey wash as the main overriding colour scheme. Colour, as well as hope and life, is gone from this world. The low saturation not only gave the layouts a feeling of melancholy, but allowed the stark black silhouettes of the crows and the characters to stand out, and the bright orange hearts to catch the eye.
The layouts of the simple skyline remained almost detail free - in order for the eye to be drawn to the Man who will be standing upon the ledge.
As soon as we are back down at ground level, everything is much more detailed and I used crosshatching as well as the colour to shade the doorways and ground. It gives it a grimy, tactile appearance.
Inside the hospital, we have a similarly dull, toneless environment, throwing into contrast the black of the moniter screen and the white wires and tubes which will be strapped to the old man in his bed.
In sharp contrast to the first half of the film, we finally reach Edgars Studio, and see it is brightly saturated with oranges and yellows - even the shadows are purple as opposed to grey. Here in this particular layout, we have the transition between the outside world and Edgars. The greying, darkening sky is outside the window, only beginning to be dotted with pale stars. It is the opposite to Edgars lively, misshapen house with its bright and warm lights. I added the unusual array of bottles and jars to further emphasise how weird and wonderful his little workshop is; much different to the straight lines and sensible props of the first half of the movie.
Since Edgar was so important to the story, I added a few little bits and pieces to flesh out his personality - like a portrait of his family, books, and a map of the word.
Once outside his studio, I wanted to show that the night sky had become much richer than the sky before. The glow of the orange sunset is reflected in the stars.
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