Issue link: https://digital.copcomm.com/i/747534
P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 6 71 Opposite page, counterclockwise from top: A digital development sketch of the forest by Ritchie Sacilioc. Timothy Lamb drew the color key drawing of the Yarn Snake, and Avner Geller drew a similar color key for the Hill Monster. The digital color key drawing for the log set was drawn by Peter Zaslav. Sébastien Piquet created this Fear Bunker visual development sketch. This page, top: Early studies for the Trolls' forest were done as fiber art with felt and yarn by artist Sayuri Sasaki. Above, left: Scrapbook artwork was created by Priscilla Wong with felt, paper and yarn, and then enhanced digitally. A frame capture of Poppy with her felt scrapbook was taken from the finished film. Right: In the Trolls' world, even the ocean looks like it is made of yarn, and Poppy's boat appears to be felt. and their world would have that same aesthetic. We embraced the Scandinavian origin and took inspiration from the 1970s, since it was then that the set of Troll dolls appeared, and mashed all these aesthetics together to create the design of the Troll world. I hired the French artist Amélie Fléchais who became the stylist for the Troll forest, bringing her unique Northern European aesthetic and magical charm to the look of the world of the film. Since the characters were written as being a part of the forest, like a tree or a wild creature, I began to consider the idea that the forest would be just like them, fiber-art inspired. I hunted through all the fiber and Slow Art references I could find. So many fiber artists are inspired by the natural environment. I found rug-hooked trees, felted mushrooms, macramé spider webs, knit flowers, fabric apples and butterflies—there was a wealth of inspiration to be found in the work of these amazing artists. Encouraged by producer Gina Shay, I went in search of one of these artists to hire as part of the design team, because this