The conceptual research for the show. Taking place largely in a number of Egyptian settings, I was particularly interested in what the architecture of the time looked like and what the landscapes looked like.
Link to full Pinterest board: https://www.pinterest.com/rallen2042/joseph-technicolor-dreamcoat-conceptual/
On top of the conceptual research for the show, the driving emotional research for the show came from this image. The idea Deborah and I came up with was to style the animals, landscapes, and architecture to illicit a child-like element while retaining its adherence to what existed in Egypt back then, as if the story was being told by and for an audience of children and young adults. From Happy Nursery Art on Pinterest and Etsy.
A scene chart that I utilized to work between the moving and changing scenery.
An example of the unique shapes for the animals and the landscape pieces in the show. Using the emotional research above as a reference point to line and shape, I themed each creature and landscape design around said reference points to curate a child-like aesthetic.
Using the images above (and the dimension references), I projected said images onto large sheet paper (pictured left) and traced the images out, so they could then be transferred to luan at a later date (pictured right). The shapes were so intricate that drafting each curve was more work than this transfer process.
An example of the drafting I did for the show.