ADG Perspective

Inside the immense reception hall stands a crystal garden. This idea came to me when I discovered pictures of small tree-shaped bedside lamps with leaves made of colored cut glass stones. I liked their somewhat kitsch aspect and the magical and enchanted way of reecting light. he trees came to decorate the pools, which themselves surrounded a huge tree with translucent crystal leaves. When getting inside this hotel for the first time, one must be daled by its magnificence and richness, reecting its creator, Mr. Crystal. The complexity of this set was a real challenge throughout the dierent steps of its creation modeling, surfacing and, of course, lighting. The lighting eects, translucence and light bounce were dicult and complex to create. It was thanks to the talent of Nicolas Brack and his lighting compositing team that this set really came to life. The same level of in-depth work was done for the design of the suites and restaurant of this great hotel, from the furniture down to the smallest decorative object. A rowdy luxury had to dominate everywhere. he door of Buster Moon's suite is thus made up of a silver metal plating representing a city silhouette with towers lighting up when someone rings the bell. A bit silly but fun. For narrative continuity purposes, it was decided that the big theater which was going to host the final show would be located inside this hotel. he goal for this set was to be totally dierent from Buster Moon's Moon heater in Bell City when it comes to size and architecture. The cold and geometric design of the Crystal universe dominates the architecture of this set. This design allowed the story to return to the world of Crystal after the abundance of the Crystal Garden in the reception hall. Its graphic simplicity and rather cold tone allowed the sets of the final show to stand out visually. Attached to this theater were the stages. For the dance rehearsals, I was inspired by a place in London where animation director Patrick Delage and I went to observe real-life dance rehearsals. I had been struck by the sober black-and-white interior, which focused the gaze to linger only on the moving bodies. This is what we tried to recreate for this set. The set where Rosita trains for her great jump into the void had to be immense, on the scale of the theater and the hotel. isually, I specifically played with a contrast between a very simple architecture, with raw materials of painted waxed concrete, and the props which would be part of the sets for the big show. For these, however, a surfacing rich in texture and colorful like the copper planet Saturn was used. It was a complete visual cheat because this same planet appears in a dierent material during the final show. But this cheat allowed for a lovely moment of Crystal A B A. OLIVIER ADAM. DRAWING-DESIGN RESEARCH DESIGN FOR THE CRYSTAL GARDEN INSIDE THE CRYSTAL HOTEL. DIGITAL ART. B. PIERRE-MARIE ADNET. COLOR RESEARCH FOR THE CRYSTAL GARDEN MOOD. DAYTIME AND NIGHTTIME. PREMILARY COLOR RESEARCH FOR THE "DREAMY" LOOK OF THIS GARDEN. DIGITAL ART.

• Cover