The reference film I selected is Mary Poppins, and this creative project intends to transform it into an animated film direction. My painting style draws on the artistic expression of the picture book animation Ernest & Celestine, and in the constructed worldview, most things in the entire world are made of desserts, including various types such as candies, biscuits, chocolates, macarons, cakes, and ice creams.
Since this design is intended to create a dessert world, this creative direction naturally reminds me of the film Charlie and the Chocolate Factory. I referred to the relevant classic scenes in the film and sorted out screenshots of the images that left a deep impression on me. At the same time, I also saw many creators on the Internet conducting secondary creation by drawing on the style of this film and producing a lot of illustration works. These works are all very appealing to me and have brought abundant inspirational insights for my design this time.
Due to time constraints, I was unable to design all the protagonists of the film, so I streamlined the casting selection and ultimately chose the core protagonist Mary Poppins and the younger brother among the two children as the key characters for this design. As a female character, Mary’s representativeness and unique temperament form a distinct and complementary visual tension with the little boy’s innocent image. This not only focuses on the narrativity of the core characters but also enhances the depth and richness of the design content.
In the character design of the little boy, I creatively integrated circus elements with dessert elements. The lively playfulness and magical atmosphere of the circus echo exquisitely with the sweet, colorful and diverse forms of desserts. The circus elements endow the character with vivid expressiveness and a unique visual memory point, while the dessert elements fit the worldview setting of the entire dessert world, making the character image highly consistent with the overall design style and possessing both personality and scene adaptability.
I noticed that Mary in the film often wears dresses with the classic silhouette of cake puff dresses, and this costume design is created and developed based on this core silhouette as the key reference.
I designed the second scene with a carousel theme, primarily because this classic scene left an extremely deep impression on me in the film. The carousel in the movie can be cleverly transformed into rideable real horses, and this design full of fantasy creativity and ingenuity deeply touched me, prompting me to resolve to restore and reshape this unique scene in this creation.
I have collected a large number of carousel-related illustration materials online to gather inspiration and visual references for this creation.
In the process of interior room design, I experimented with various compositional forms and ultimately selected the third composition scheme in the first row. This composition can fully present the overall appearance of the entire room and clearly display the internal layout structure of the room.
Color block practice for light, shadow and shading of the room, focusing on the color expression of light and shadow in the interior space.
Human anatomy practice
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