balto backgrounds 2

19 11 2016

some more BG’s from the AMBLIMATION animated feature film BALTO ( 1994 ), painting technique oil and gouache.

balto20

balto22

balto29

balto21

balto27

balto28

baslto24

balto25

balto23

balto26

balto30

© universal / amblin





balto backgrounds

13 11 2016

digging through my photography files I found these beautiful backgrounds from the AMBLIMATION animated feature film BALTO, except the last one all painted in oil by LUC DESMARCHELIER, one of the master-painters. it’s the year 1993, london. we decided to paint most of the BG’s in oil after painted snow tests in gouache were not looking like snow. only some wooden textured house shots and a few interiors were painted in gouache. it was hard for most of the background painters to get more familiar with this unusual painting technique in animation. after disney’s BAMBI BALTO was the second feature film painted in oil.

Minolta DSC

Minolta DSC

Minolta DSC

Minolta DSC

Minolta DSC

Minolta DSC

Minolta DSC

Minolta DSC

© amblimation / universal pictures





balto’s dream

14 02 2016

style header

for the designs below I got my inspiration from INUIT ART, the art of the alaskan natives. at one point during the preproduction of BALTO there were ideas of balto having a dream. this chance to add a different style and a bit of art into the film was very exciting – but, it was given up soon. maybe I am the only one who would like to see something else than action and operetta…

bazlto 4674

balto 4673

© universal / amblin





amblimation balto documentary 1994 part 1

27 03 2015

anim.hist

the AMBLIMATION studio in london-acton town, jan.1994, shortly after the disaster earthquake in northridge, L.A.

some impressions of the background department, located separate on the 1.floor, because of the better light conditions,

fun after work in the pub next door. most of us were hanging out there after work several times a week.

studio party after successful work, STEVE HICKNER, producer, giving a speech.

more BALTO BG’s, most of them painted in oil. I never understood, why that was never used in the promotion of the film. at least it was the only film next to BAMBI where the backgrounds were nearly entirely painted in oil.

amblimation 1.1994 balto from hans bacher on Vimeo.

© Amblin / Universal





balto reference

18 01 2011

here is some of the reference for BALTO. I collected hours of TV-reference about alaska and snow landscapes in general, analyzed them all and printed hundreds of color-videoprints. a selection is below, as well as some of my designs for the aurora borealis in wolf-shape for the ending of the film.



© amblin / universal pictures





alfred j kwak calendar 1.1

18 09 2019

these are designs for a calendar I did in 1991 for the merchandise program that came with the tv-series based on the comic strip series THE STRANGE ADVENTURES OF ALFRED J KWAK, that harald siepermann, herman van veen and myself had created. the calendar was never finished, for some personal reasons I stopped working on the project and from then on hardly anything was ever published again. my whole work in germany stopped in 1991, I joined spielberg’s amblimation studio in london and started to work on CATS followed by BALTO, and concentrated from then on solely on animated feature films.

© bilderfabrik
© AJK van veen/siepermann/bacher





style diversity 1.9

6 09 2019

© bilderfabrik
© walt disney enterprises
© amblin/universal pictures
© van veen/siepermann/bacher





style diversity 1.8

5 09 2019

© bilderfabrik
© walt disney enterprises





style diversity 1.7

4 09 2019

© bilderfabrik
© walt disney enterprises





style diversity 1.6

18 08 2019

© bilderfabrik
© walt disney enterprises





style diversity 1.5

17 08 2019

© bilderfabrik
© walt disney enterprises





style diversity 1.4

16 08 2019

© bilderfabrik
© walt disney enterprises





style diversity 1.2

14 08 2019

© bilderfabrik
© walt disney enterprises





early spring 1993 london

12 01 2016

over christmas I had some time to dig through my archives, and I found a lot of historic stuff that you might like to see. it’s amazing to look at drawings again after so many years, lots of memories come alive. I want to start with BALTO, an animated feature film about husky dogs in alaska and the famous iditarod dog-sled race. I worked on it from 1992 on, production started in 1993. all that in london, acton town, a very interesting and ‘alive’ part of london. the following designs were all done by a young kid, early twenties, french, one of the most amazing character designers I ever met, and a brilliant animator as well – you might have seen his work in recent films from DREAMWORKS, like the trained dragon and the panda series. I am talking about a master – NICOLAS MARLET. there will be more, especially from CATS. but for now BALTO, or as it was called at that time SNOWBALLS

KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA

© nicolas marlet / universal pictures / amblin entertainment





first video test

23 03 2015

anim.hist

over the past years a lot of you have asked me to upload some of my ‘hidden historic animation documentaries’. I decided to start with it now. but – I need some advice with the uploading of the videos to WORDPRESS, I am not quite sure if I do it right because even the shortest clip takes forever to upload. so, please let me know if there is someone out there who can advise me.
today I chose a very short clip because of the slow uploading, it was a look-test we did for the shelved disaster experiment, that could have been a masterpiece, WILD LIFE. from 1999 on I worked on it for probably 1 1/2 years. there are more posts on my blog about this unusual disney project, but here now for the first time a short test animation of the heroine KITTY, her crazy dress what took a while to create, and the environment. please keep in mind, this was done during the ‘pioneer’-days in CG, over 15 years ago.
anyway – in case I can finally solve the uploading problem, there will be a lot more – footage from the making of BEAUTY AND THE BEAST ( there is about 9 hours of documentary ), footage during my 4 years in london at AMBLIMATION with documents from WE’RE BACK and BALTO and lots more from my following 10 years at disney, especially documents from MULAN and the production in florida. hope it will work, you might enjoy it…

© disney enterprises, inc





color 1.1

19 04 2012

the choice of the right color seems to be a challenge, that’s at least what I hear from a lot of my students. of course you can trust your intuition or get inspired by the right music, but I think it might be safer to collect enough information, in this case – visual reference. maybe you have enough photos in your archives to choose from, but in any case you can find everything and fast on the internet. as an example I picked the theme WINTER.

when I did the production design for BALTO I had to do a lot of research about alaska, snow covered mountains and deep forests, whatever I could find about the cold northern winter. without checking photographic- or art-reference you probably would go for a lot of white with some greyish-blue colors. in case of BALTO we wanted to avoid that cold color-range as often as possible. the white with blue color combination feels cold and you don’t want your audience to start freezing.
when you look at the collected photos you will find blue as the dominant color, but as well a lot of other balancing colors you could use to go into a different warmer range.

in the second big compilation you can study a wide range of artwork from around the world and from over the last two hundred years covering the same theme. here as well the color choices of the different artists were not just blues and greys. you can check that very well in my color-picks.


that is how I usually start, in case I need to come up with a color script. you select all the colors from whatever reference you use and then condense the color-picks to the range that fits your storyline the best, and – you choose colors harmonizing with each other. according to the story you are working on, a lot more goes into the choice of the right color, especially in your color script, where you need to translate the development of the drama and illustrate the mood. in some cases your story in the climax part of the film might need even in a winter snowy environment completely different colors, colors that symbolise the idea and not the reality.





special

25 12 2011

a ‘merry christmas’ to everybody who is celebrating the event. for this special occasion I want to show you a selection of designs for several animated feature films created over the past fifteen years by some of the best in their field. PAUL FELIX and a few of his many masterful pencil sketches for disney’s MULAN, as well as some of his paintings and drawings for the shelved SNOW QUEEN project. further MARCELO VIGNALI with his beautiful visuals for MULAN and CHEN-YI CHENG’S ancestor group for the ‘mushu’s awakening’ sequence in MULAN. finally two more stunning jungle action scenes for TARZAN by JOHN WATKISS, and some of the amazing layout work for BALTO created by one of the best layout artists, now animator – BOLHEM BOUCHIBA. I hope you enjoy this very special gallery of the masters – happy holidays.


















© disney enterprises, inc
© universal pictures / amblin entertainment





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





muk+luk

3 12 2010

the animation thumbnails and character studies of the two bears MUK and LUK were created for BALTO in 1993 by an incredible talent, NICOLAS MARLET, at that time in his early twenties. he has become one of the most creative character-designers in the animation world, as you can see in his work he did for DREAMWORKS over the last fifteen years.


© AMBLIN / UNIVERSAL pictures





storyboard 1

21 10 2010

below a storyboard example for a part of BALTO, drawn by DAAN JIPPES and SIMON WELLS in 1993.





© AMBLIN / UNIVERSAL pictures








The Hidden History of Oz

Long before Dorothy came to Oz, Glinda and the Wizard changed everything.

Ellen Li

Illustration & Design

WordPress.com

WordPress.com is the best place for your personal blog or business site.

The Hidden History of Oz

Long before Dorothy came to Oz, Glinda and the Wizard changed everything.

Ellen Li

Illustration & Design

WordPress.com

WordPress.com is the best place for your personal blog or business site.