Disney Animation Sketches

Disney Animation Sketches

Layout sketch with suggested camera move. As Snow White gets to her feet, the camera follows her up. losing the animals. Less to draw, less for the audience to watch.

Full-sized layout sketch with the figure in it—will it work as planned in the Layout Book? The girl must run about to instruct the animals on what to clean. The length of the soundtrack did not allow for this much movement; so. eventually, this action was done in a close-up.

Sketch Girl Turning Away From Camera

problem: lhe Lady and the sed to turn the irritating ning from the iliminary stag-strength in the drawings, he 7i his back to giving him a \ge of attitude.

? secret agent :uers, is slip-te moist walls v-hole below, ayout lacked wrtraying his

\aginative ap-diately added involvement.

dt to give the Penny was in a cavern in ; until this shot ed. With lay-\e, the anima-to make his ove properly, iv difficult the pective for his

Imaginative Staging Helps the Sequence

In the final drawing, he not only turns away from the sound but covers his ears as well.

Disney Animation Drawing Sheets Disney Animation Drawing Sheets

MlNtMlZtNô BACKâeoUND SLe^ÉNTS, ANO or^eß. TH/MG^ THAT PKAVA;

ArrewT/OM AJUAV TMC ACTJOM ,

Carson Van Osten of the Comic Strip Department prepared these sheets to explain the importance of staging to young artists.

were constant examples of someone apparently looking away as he spoke to a companion who was not showing in the scene. Arguments raged and diagrams were produced to prove that a concept was correct: "The camera is here. Mickey is here. And Donald is there! He has to look to his left to talk to Mickey!" But regardless of analysis, it never looked correct to the viewers unless a clear direction from one side of the screen to the other had been established.

There is more fun in drawing up the big pictorial scenes that show the whole set-up and establish both the mood and the details of the locale. Often the pictures on the screen will tell as much about how someone feels as the acting; it is a combination of the mood and the relationship of the character to his surroundings.

With the exception of the first four or five features, most of this procedure has remained only theory for the layout man. The animators need work before there has been time to plan anything, the background painter is waiting to experiment with techniques and colors, the director wants him to make some sketches to repair the story reels, and, somehow, the part he has been thinking about has been revised before he even had a chance to put any thoughts down on paper. Some men can adapt quickly to such changes, trying one idea after another on the spot, but most need time to adjust. As one remarked, "I can't do sketches on my lap like

Ken Anderson. ... I have to go back to my desk and think about it a little."

Here is a list of some of the things the layout specialists think about, taken from the scraps of paper pinned to their desks. They come primarily from Ken O'Connor and Don Griffith, with a few from Ken Anderson, but much of the wisdom goes back to their teachers.

1. One quick look is all the audience gets—keep it simple, direct, like a poster; it must sell an idea.6

2. Fancy rendering at a later date cannot save a poor original conception.

3. Always keep screen directions clear. This will be your biggest headache—don't overlook it.

4. Keep informed on: art in history—architecture, costumes, landscapes.

5. Keep informed on: styles, mediums, textures, surfaces, composition, drawing.

6. Keep informed on: technical information—effects given by different lenses, ground glass, filters, gels. What the optical printer can do for you.

7. Mood can be established by timing and movement:

Sad or Quiet—long scenes with slow moves on pans, trucks, and characters.

Happy or Excited—short scenes, fast cuts, quicker moves on camera and characters.

again.

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