Here are some story panels I did for Disney’s Planes in 2013.  The process for these was to take the 3D character models in Maya, light and render them and create the simple 3D backgrounds. The main portion of this task was combining all the elements and creating a digital painting in Photoshop.  One of the challenges for these was to make sure the planes are always positioned so you can see their mouths -so you can read their expressions.  This task was much easier on Cars as their mouths are right at the front.  With Planes, the long fuselages presented a challenge.


Thowback Thursday: Art Edition

In 1997, I was working for Disney Interactive.  At the time, 3D environments were a relatively new thing.  I had the task of showing what we could do with the technology we had.  I created these backgrounds using 3DStudio and Photoshop. You might be thinking 3DStudio Max, but this was earlier than that.  3DStudio was created for the DOS platform, and models were built in wireframe.  That’s right – if you wanted to see a shaded view of our work you needed to render it. Sometimes you would have problems like inverted polygons (what would look like holes in your model), but you would have no idea until you rendered (and waited) to see your work.


The River Styx: from Hercules.


Palace: from Aladdin.

Another challenge in creating these backgrounds was giving them that feel that painted Disney backgrounds have. Often when artists create two-dimensional works, the goal is to make the scene “read” so the viewer can see what the artist is trying to convey.  Often this involves altering the perspective and placing objects at impossible angles. You see this effect throughout Western art before and after the discovery of linear perspective in the Rennaissance.  One artist’s work that comes to mind is Edgar Degas.


The Dance Class: Edgar Degas, 1874.

Degas often tilted the floor in his paintings – often at extreme angles.  It’s not unique to just paintings, though. The English theatre started sloping their stage floors upwards away from the audience as far back as the middle ages; a “raked stage”.

The two backgrounds shown here were built this way, where the floor is tilted close to thirty degrees, the buildings, columns and towers are tilted back from the viewer at the top and there are few if any straight lines.  It wasn’t enough to give the camera a wide angle lens, everything needed to be considered.  The only drawback to creating art this way is that the illusion only works from the front view.  If you start to move around the scene or look at things from the side-view the illusion falls apart.  I remember after having completed these backgrounds the art director saying “These are great!  Can we animate a fly through?”

Disney Animation Artist

This past summer I worked on a title for Leapfrog’s new Leap Pad called Disney Animation Artist.  It was a tough project, but worth the effort in the end – and it’s been one of the top sellers for the Leap Pad.   I was creating drawing and animation lessons using Disney’s heritage characters; Mickey, Minnie, Donald, Daisy and Goofy.  I lead the animation on the project with Eric Goldberg supervising.  I have to admit, I was pretty intimidated when I found out he was reviewing my work – I’ve been a real fan of his for years.  He animated the Genie in Aladdin and did that amazing Rhapsody in Blue section in Fantasia 2000 among many other accomplishments.  Unfortunately, I wasn’t in direct contact with him, but his comments on my work were very kind and informative.

While I was animating this project I listened allot to Clay Kaytis’ Animation Podcast.  If you are interested in animation, it’s definitely worth checking out.

Here is a production sketch I did of Daisy:

You can see the commercial for the product on Youtube here.   Unfortunately, it looks like they had a compleetle gleetch during Mickey’s dialogue.  It looks much better on the Leap Pad.