andrea sdeja

  • Subscribe to our RSS feed.
  • Twitter
  • StumbleUpon
  • Reddit
  • Facebook
  • Digg

vineri, 28 decembrie 2012

Realism and Abstraction

Posted on 00:52 by Stephanie


For most Disney animated feature productions the research that helps to get the best results on the screen seems endless. Before animation begins storyboards are drawn and redrawn, various styles are being explored in order to achieve the right look for the film, and often live action is shot to help animators with their acting choices.
For the movie Peter Pan a lot of live action footage was filmed, and the super talented animators knew just how to use it. If the acting was inspired, why not incorporate it into your animation?
Usually timing and staging needed to be altered, because graphic animation has its own rules. Broader action, more squash and stretch and a clear silhouette.

I just love looking at these vintage photostats that were made available to the animators.
You can see what motivated them and how they translated the footage into graphic motion. Sometimes they would ignore the live action and create a different performance on their own. But as Marc Davis said, it was often helpful to be able to look at something instead of starting with a blank sheet of paper.

I myself worked with live action reference for Gaston and Hercules. We did it the same way by filming the actors wearing somewhat crude outfits, and by using the simplest of props to create some kind of an environment for the scene.
Sometimes those on the set were laughing so hard at how ridiculous (yet useful) the footage came out. If the studio could only make that footage available to you guys, you would laugh you head off.







Artists like Mary Blair preferred to present sceneries, characters and colors in an almost abstract way. With a strong focus on lighting, emotional color choices and simple staging these studies were the inspiration for the final artwork. Sure, the production backgrounds have a more realistic stage set feel, but Mary's influence is very apparent.
Eywind Earle took a similar approach for Sleeping Beauty and so did Walt Peregoy for 101 Dalmatians.






In the end this and other films landed somewhere in-between realistic and abstract influences.
And I do believe that's one reason for their greatness.
Trimiteți prin e-mail Postați pe blog!Trimiteți pe XDistribuiți pe Facebook
Posted in | No comments
Postare mai nouă Postare mai veche Pagina de pornire

0 comentarii:

Trimiteți un comentariu

Abonați-vă la: Postare comentarii (Atom)

Popular Posts

  • Miss Audley
    Before I start I would like to tell you that I am going to give a talk at the Pixel Animation Festival in Vienna this October. I'll be t...
  • Heinrich Kley was crazy...
    …in the best sense of the word! He was a compulsive draughtsman, and it seems that any white blank surface, however small, called out to him...
  • The Sheriff of Nottingham
    The process of visual development for a Disney character during the 1970ies involved only a few steps compared to much earlier Disney films....
  • Heinrich Kley's Reynard, the Fox
    The stories about Reynard the Fox go back hundreds of years. There are French, German and Dutch versions, who all portray the character as s...
  • Marc Davis Roughs
    Last year I posted some of Marc Davis' color designs for the unproduced feature Chanticleer. Here are a few of Marc's rough characte...
  • Bambi Vis Dev Art
    In their 1990 book Bambi, The Story and the Film, Frank and Ollie don't identify the artist who produced these magnificent poetic render...
  • Eric Larson
    Here are three examples of Eric's work. The first one is Pedro from "The Flying Gouchito". Frank Thomas animated most of this ...
  • Busch Spot Illustrations
    Wilhelm M. Busch captures a specific mood or situation with an economy of lines in these charming small size drawings. They were published i...
  • Brenda E. Spender
    I have a couple of books illustrated by Brenda E. Spender, the following images are from "Important People" from 1930. Her work ha...
  • Animal Sketchbook
    Here are a few samples from my animal sketchbooks. As much as I enjoy drawing at the zoo, I find it absolutely essential to draw also from T...

Blog Archive

  • ►  2014 (99)
    • ►  august (4)
    • ►  iulie (15)
    • ►  iunie (8)
    • ►  mai (15)
    • ►  aprilie (14)
    • ►  martie (15)
    • ►  februarie (13)
    • ►  ianuarie (15)
  • ►  2013 (163)
    • ►  decembrie (14)
    • ►  noiembrie (14)
    • ►  octombrie (16)
    • ►  septembrie (14)
    • ►  august (8)
    • ►  iulie (14)
    • ►  iunie (14)
    • ►  mai (14)
    • ►  aprilie (12)
    • ►  martie (17)
    • ►  februarie (12)
    • ►  ianuarie (14)
  • ▼  2012 (137)
    • ▼  decembrie (11)
      • Amelia & Abigail Gabble
      • Realism and Abstraction
      • Underwater Santa
      • Sarah and Mushka
      • Sleeping Beauty Story Meeting
      • Wilhelm M. Busch 1971
      • Invisible Ink
      • Christmas Cards
      • Runaway Brain
      • Staging Pongo and Perdita II
      • Atlanta, Georgia 1946
    • ►  noiembrie (11)
    • ►  octombrie (14)
    • ►  septembrie (11)
    • ►  august (14)
    • ►  iulie (12)
    • ►  iunie (10)
    • ►  mai (11)
    • ►  aprilie (10)
    • ►  martie (10)
    • ►  februarie (11)
    • ►  ianuarie (12)
  • ►  2011 (91)
    • ►  decembrie (11)
    • ►  noiembrie (12)
    • ►  octombrie (7)
    • ►  septembrie (13)
    • ►  august (14)
    • ►  iulie (14)
    • ►  iunie (20)
Un produs Blogger.

Despre mine

Stephanie
Vizualizați profilul meu complet