caricatures 1

31 05 2011

the following caricatures were created by NICOLAS MARLET as far as I remember in 1992, at that time STEPHEN SPIELBERG’S animation studio in london ( acton ) – AMBLIMATION – was still busy with the feature film WE’RE BACK. you could hear many different languages, a lot of young animators from all over the world, but mainly europe, were working there on one huge floor divided into small cubicles. we used to caricature each other, just for fun. and NICOLAS was one of the best artists for sure!









© nicolas marlet





concept art 1

28 05 2011

below some concept art from disney’s MULAN, created by three masters – ALEX NINO, PAUL FELIX and MARCELO VIGNALI.











© disney enterprises, inc





alaska

25 05 2011

below my production design for a diagonal pan in BALTO from 1993 ( feltpen and gouache ), followed by the final background painted in oil – could not avoid the reflections in the overlay cels.


© universal pictures / amblin entertainment





the blitz

21 05 2011

FRANS MASEREEL, 1889 – 1972, was born in belgium and is probably the greatest woodcut artist of the twentieth century. his work belongs to the EXPRESSIONISTIC style, – THOMAS MANN, EMILE ZOLA and STEFAN ZWEIG were the writers whose novels MASEREEL illustrated. when I worked on the adaptation of the musical CATS as an animated feature film in 1991 I used MASEREEL’S work as look-reference. as well as a lot of art from numerous german expressionistic painters like, KAETHE KOLLWITZ, MAX PECHSTEIN, KARL SCHMIDT-ROTTLUFF and EMIL NOLDE. the story was supposed to take place in london during the second world war, the so called BLITZ ( from blitz-krieg ), so I referred to a lot of historic photographs of the destroyed london from that time.


below are some of my earliest designs for CATS, the ANDREW LLOYD WEBBER musical, produced by STEVEN SPIELBERG in his london AMBLIMATION studio, all ‘painted’ with tipp-ex white correction fluid on black cardboard. I touched up the pretty rough white strokes with black markers. I know, it sounds like a very unusual technique – but woodcut would have been worse.











© masereel / andrew lloyd webber / amblimation / universal pictures





unreal

19 05 2011

it is an interesting combination of a filter with a colored multi-layer-mix using a black and white photo from hollywood’s glamourous days.





film noir

17 05 2011





watkiss 2

16 05 2011

JOHN WATKISS did rough studies like these to plan his big acrylic paintings during the pre-production of disney’s TARZAN.


© disney enterprises, inc / john watkiss








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