Laurine Cornuéjols is a Graphics Assistant for Film & TV
Laurine Cornuéjols is a Graphics Assistant for Film & TV

The final animation



My contribution to The Hunt


Here are my notes on desiging The Hunt along with my sketches and paintings.  


I started the project by gathering a lot of visual reference from Native American Art and Canadian Landscape Painters. This helped me understand the visual culture of the story and was my starting point when designing the environments. 



A collection of patterns (Wilson, 1987), (Appletom, 1971)

Some pictures I took with Maya Schoch at the MOA

The Group of Seven and other Canadian Landscape Painters (, 2015)


Creating the mood of a poetic tale

The story is very poetic so it was important for the visuals to reflect that quality. In my colourscript, I selected strong colours to define and establish the mood of each part of the tale.

A lighting key: a peaceful atmosphere at the start of the tale

A colourscript: linking the tale to its visual representation and the feelings evoked. The colourscript gives an idea of the whole story and defines colour and lighting direction

Annotations for the colours: showing how each colour scheme relates to a particular emotion and story beat

The story can be divided into 3 acts, each with its distinct style.  


I. Peaceful, safe Parallel lines, curves

Subtle variations, foggy, blue and orange atmospheric light


II. Pain, Panic Diagonal, sharp lines, abstracted image, geometric

Contrast, red, flatter colours


III. Magical, beautiful Curves Rich blue night sky and stars occupy the most space


They are designed to contrast with each other, starting with the bear living safely in the forest, to the harsh world of the mountains and the encounter with the humans; and finally to finding another world where the bear truly belongs, a world of magic and spirits. To emphasize the importance of certain colours, red is only introduced in the second part, showing the pain and surprise of the bear.

Act I. The safety of the forest

Concept Art for the beginning sequence

A still from the final short

The Matte Painting for the first act. It combines traditional and digital painting

The Matte Painting for the mountains sequence. I painted it on a sphere to cover the entire background of the shots

Act II. The Encounter with the hunters

A still from the final animation

Act III. The spirit world

The Matte Painting for the final sequence before compositing.