brush tests

2 07 2017

over the last few days I did hundreds of new paint-brushes. below are some of the tests





beethoven’s fifth

3 06 2017

a few of the ideas I painted in 1994 for the BEETHOVEN’S FIFTH segment in disney’s FANTASIA 2000

© disney enterprises, inc





style 12.1

31 05 2017

the following designs show a wide variety of styles. when it comes to the final look of a film the style should not be overwhelming, it should always be based on the needs of the story. and characters and environment should work together, the worst is if a character looks like an overlay. simplified characters need simplified backgrounds, in case you want to work with more realistic designs for both, don’t overload the backgrounds with unnecessary detail – make your character ‘read’. in some of the following posts I talk more about how to develop a new style.





lost and found 7

30 05 2017

© disney enterprises, inc





lost and found 6

29 05 2017





lost and found 5

28 05 2017





tin soldier

27 05 2017

in summer 1994 I started to work at disney, after several years freelancing, with a seven-year contract. my first assignment was the style development and visual research on 5 projects – all at once! HERCULES, TIN SOLDIER and BEETHOVEN’S FIFTH ( both FANTASIA 2000 ), DINOSAUR ( first CG prod.) and FAMULAN. I don’t know what the reason was for that ‘overload’, it was a challenge. I started to work on the single projects one every week, using the weekend as kind of a mental break. but it didn’t really work that way, because the production schedule didn’t follow my schedule. the result though were dozens of color sketches and the complete color-script for HERCULES, until GERALD SCARFE took over in autumn 1994. TIN SOlDIER was first planned as traditional animation, they changed it then into a CG piece, horrible in my opinion. and BEETHOVEN’S FIFTH turned out a bad experience, because I could not work with the director. DINOSAUR was a lot of fun, because it was a new world, they invited specialists, who taught us about the look of dinosaurs and the environment of that time. and then of course FAMULAN, what became MULAN. based on my early designs BARRY COOK, the first director on the project, asked me beginning of december 1994, if I wanted to take the job as production designer.
below you see some of the designs I did for TIN SOLDIER. I had to restaure some of them, the color xerox quality in the nineties was bad.

© disney enterprises, inc