A puppy dies every time someone uses the default Unreal Engine sky system.

I had been watching a lot of films with great colour work and wanted to end up somewhere between the ritualistic gravitas of Jodorowsky’s The Holy Mountain and the candy-coloured backgrounds of Shintaro Kago. I love how Kago’s bright palettes so nimbly offset the horror of his drawings, creating an uncanny, surreal atmosphere. Those two references did the job.


For One To(o) Many, I wanted the experiments to take place in a very simple but evocative space: a colourful, open-air laboratory at the end of the world, with the sky slightly on fire.

The colours of the sky are generated by a shader – a set of instructions executed by the graphics card. It is an entirely synthetic expression: essentially, a mathematical formula painting colours onto a sphere.