no parachute?

29 07 2016

from WHO FRAMED ROGER RABBIT a sketch HARALD SIEPERMANN created, of eddie valiant falling and in discussion with some good friends, for the storyboard from the TOONTOWN sequence. june 1987.

roger rabbit-Eddie falling

b6029fcbdab06d36db1937a05fc0d281

c15fee27e533973ec5ab07f423be2987

© disney enterprise / amblin / universal





style 9.5

28 07 2016

style-header2

artists have always been inspired by other artists. otherwise impressionism or cubism had never developed and been explored by so many different artists. in animation disney first used children book illustrators like tenggren and nielsen as inspiration for the style of the first feature films. UPA was smaller and could afford to experiment with new looks, using modern art like dufy and modigliany, but as well upcoming cartoon and caricature stars like steinberg, searle and kurtzman for inspiration. later john hubley went even further with his shorts and a complete abstract look influenced by picasso, shahn and prestopino. I could continue this until today, where modern filmmakers get excited by art they accidentally find on the internet. it is so much easier today to look for reference or inspiration, everybody has a vast collection of art from museums, books, auctions or collectors at home available on the world wide web.
I was always interested to find out how looks were developed in the past. it was like a guideline for my own work, to find ways for developing new styles. now I am trying to teach those secrets to new generations. difficult, because you have to first learn about all the existing art in the world, figurative and landscape or environmental art, get enough knowledge about films of the past – and, experience by analysis how the look of the most interesting films was developed. the real challenge starts when you try to develop your own style for a project. one piece is already tough, but then the problem is to create a whole series of environments in the same style.

human faces+art

faces in art 1





alex nino 12

25 07 2016

KONICA MINOLTA DIGITAL CAMERA

another one of ALEX NINO’S masterful pre-visualizations of the hun attack in disney’s MULAN

© disney enterprises / alex nino





composition collection

10 07 2016

composition sketch comp 2016 A

composition sketch comp 2016 B





comparison 9

20 02 2016

comparison A blog

KONICA MINOLTA DIGITAL CAMERA

bambi GG813

KONICA MINOLTA DIGITAL CAMERA

bambi recreated.rain-111

KONICA MINOLTA DIGITAL CAMERA

© disney enterprises, inc





comparison 8

18 02 2016

comparison A blog

rough small sketches in black/white like the following were done to define the value range, the light and shadow, as well as the staging of the animation in the scene. this is from the disney animated feature BAMBI in 1940. later that step was part of the WORKBOOK, the translation of the storyboard into ‘film-language’, where every single scene is prepared in staging, size and camera movements, as well as rough indication of light/shadow and a floorplan, to go from there into layout and later into the background department. during BAMBI that process was more simplified, because every major sequence had an own art director, who was the one defining these staging sketches, as well as the color script for that sequence. they supervised every single step during production, in a way they were ‘directing’ the visuals behind the animation. you can see little differences in handling the staging in this film. for example the climax of the film, the shooting of bambi and the fire was art-directed by john hubley, a master in cinematography. you get an idea when you look at his personal work later in new york.

KONICA MINOLTA DIGITAL CAMERA

here you can compare the initial rough planning of that scene and the final result…

KONICA MINOLTA DIGITAL CAMERA

bambi sc.40 DD0069

look at the little blue thumbnail on top, it is the rough for the next shot, the reverse camera angle…

KONICA MINOLTA DIGITAL CAMERA

bambi 0069 rev.39

© disney enterprises, inc





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








Follow

Get every new post delivered to your Inbox.

Join 869 other followers