Concept for Thor look for Thor : Love and Thunder directed by Taika Waititi for #marvelstudios. This armor is referring to different things : Captain America scale torso armor as seen in Avengers : Endgame and also a specific look from the comic books : the Thor shiny armor from the run by Walt Simonson. With a blue scales torso and a gold armor. I was looking for the balance between a new and refreshing look as well as keeping a link to what we’ve seen in the comic-books. And because also Steve Rogers is one of the few (with Jane?) humans to be worthy and being able to handle Mjolnir I’ve kept the structure of Cap armor on the torso (I’ve hidden the star because it would have been too obvious). And for the Helmet, I was referencing Odin’s one. Like the place of the father is now empty and now Thor is at a new step in his life…maybe a father one? Odinson! I’ve already shared a concept close to this one. Here the armor is lighter with the golden armored arm. ———- #thor#chrishemsworth#marvelstudios#mcu#thorloveandthunder#marvel #conceptart#mjolnir#avengers#avengersendgame#armor#steverogers#janefoster#captainamerica#odin#odinson#stormbreaker#charadesign#marvelcomics#marvelcinematicuniverse#characterdesign
Character design for Thor in Thor: Love and Thunder. Keeping Chris Hemsworth likeness and working on a « casual » outfit. Not the big epic and colorful armor in this case. Something with some zen vibes. I was working from the armor he was wearing in Avengers : Endgame, getting from black to white (following the character evolution in the story, it’s another new step in his path) and I was also referring the scales on the torso of Captain America.
Concept art for Thor played by @chrishemsworth in #thorloveandthunder . A more casual outfit, offering a different mood than his colorful and shiny battle armor. Like some short kimono. Interesting also to work on all those interlaced patterns.
A really early exploration for Gorr for #thorloveandthunder movie. This one was rough but the intent was to work on different possible emotional states of the character. There is a « rule » in storytelling : in order to create a strong involvement of the audience and a sense of believability you need to give your character a wide spectrum of emotions and some failures to help understanding who he is and how he behaves. Why is he acting this way? You need to create empathy-different from sympathy- with him. He or she could be a total asshole but you can understand (mostly through suffering most of the time) why he/she’s acting this way. On a personal level I find it really interesting to think the same way in order to evolve. Good writing involves a lot of psychology. In this case I find inspiration in the real world with the goblin shark (last slides) which is probably the main inspiration for Alien. The God’s butcher was once a good guy (you got it in the movie) but for some reason he became frenzy and crazy…
There was a period of time while on "Thor-Love and Thunder" where I was asked to take drawings that the director and one of the lead actors children had done and translate them into real creatures. It was a fun task and I did several of these. This one was a combo of 3 of the drawings. (Edit: the director’s child and an actors child, Taika didn’t draw) #thorloveandthunder#marvel#marvel#thor#taika#conceptart
Another moment from Strange World. Searcher and Jaeger used to have to climb down those big platforms (while arguing the whole time of course ????????) #strangeworld#disney#conceptart
Clade farms day vs night. One painting, two lighting treatments. Painting the pando glowing was always super fun. Go see Strange World now! #strangeworld#disney#conceptart
April Liu a écrit:
Some silly strange world plants and curious things to populate the environment. A lot of these designs were pulled from amazing visdev by other artists on the team. It was very fun to put it all together. #strangeworld#disney#conceptart
April Liu a écrit:
Silly little goopy slimy sketch for the acid lake environment in #strangeworld
April Liu a écrit:
Just a little strange world slug having a sluggy day. His 3D model asset name is squishy baby and he is my baybeh. Was going for a pseudo Nausicaa vibe in this piece #strangeworld#conceptart
April Liu a écrit:
Strange world goop world. A more finished drawing for this area. This set was based off a very cool drawing that Tadahiro Uesugi did. #conceptart
April Liu a écrit:
Some family photos for #strangeworld . Fat baby Ethan forever
April Liu a écrit:
Strange World is out today!!!!! This movie was basically created entirely in quarantine/pandemic and it was not an easy time…but I was still able to have so much fun on the project and grow a lot creatively and artistically and that’s testament to how awesome and supportive my PD @mehrdadisvandi, AD Larry Wu, production coordinator @oatbran8 and the rest of the team was. I felt really supported even as the world we knew was burning down around us, and we ended up making something really special. It is hard to design super fantastical stuff when u are constantly anxious about getting covid, but I had a lot of fun with the environments and drawing Ethan and splat ???? in random settings. #strangeworld#disney#conceptart
April Liu a écrit:
One of my fav moments to work on from Strange World. Searcher and Ethan selling pando together in the cityyyy #strangeworld#disney#conceptart
Early development for Clade Family farms. I really wanted to see more terraced or vertical farming to make the world more unique. These were mostly for story just to have something to board off of. #strangeworld#disneyanimation#conceptart#farmhouse
Chip'n Dale Rescue Rangers is out today on Disney+ Two years ago, I've been approached to work on this movie, to supervise what would be the "2D animated" part of the film that was handled by MPC in Montréal. Taking over such classic and Iconic Disney characters sounded pretty exciting to me at the first place. Before finding out that MPC's plan was driving the "2D looking" characters in CG. After hesitating a bit, I decided to give it a shot and take on this challenge with my fellow artist and good friend Sam Cabanac @sam.cabanac as the 2D lead animator on this show. This was also my chance to collaborate again with my good old friends Julien Bizat @julien_bizat_animation, Slaven Reese @slavenreese, Elio Lischetti @eliolischetti as well as some raising animation gems : Josh Hill @joshhilldraws, Javier Ferrer @javierferrer_2d, Arianne Roy @nananeroy, Alec Yard @alecyard, Joaquin Madrid, Maia Geeraerts @maianouninator, to name a few. In adition we had the great privilege to get the help of animation legend Chuck Gammage who formerly animated on "Who framed Roger Rabbit" back in 1988.
Now I won't hide my annoyance as the final product is a galaxy away from my standards. To say the least...
I won't blame MPC as the artistic choices, political stakes, and strategies for this production goes much beyond them. I'll be sharing here a few character exploration/dev, modelsheets and 2D animation tests I did to explore visual language and animation directions.
A Dale model/suggestions page for Rescue Rangers These were done pretty early on my production time in 2020. In the film's first act, Dale is still in his "hand drawn" appearance before he decides to "go CG" for the sake of his career. So it was needed to study a solid 2D look for the two main protagonists. Even if our goal here was to picture the very characters from the 90's TV show, my approach was to consider all that has been done in terms of design through the ages for these two lads. Then to blend the attitudes/character context/mindsets/costumes/colors of the 90's TV show with the visual appeal of the Chip'n Dale shorts from the early 40's. (as much as possible.)
Some expressions sheet I did on my first production day on Rescue Rangers. When my friend Sam and I got onboard in October 2020, the animation production was supposed to start right away. But Modeling and rigging still had a long way to go to hit the spot I was aiming for. So I came up with these very few expressions sketches for the rigg and modeling departments, looking to show how to reach contrast in acting and performance. Yet the model for Chip here is not quite accurate. This was mostly to provide inspiration.
Quand Sony s'amuse des fans du Spider-Man d'Andrew Garfield :
Il n'en fallait pas plus pour relancer le #MakeTASM3 sur les réseaux sociaux.
Electro n'est d'ailleurs pas le seul personnage des Amazing Spider-Man qui aurait pu avoir une refonte de son apparence dans Spider-Man : No Way Home. Ian Joyner, superviseur du développement visuel pour Marvel Studios a partagé certains concepts de design pour le Lézard :
Ian Joyner a écrit:
Recently got permission to share some new work I was able to do for #spidermannowayhome and I will start off by showing… really old work! I worked on The Lizard way back in #theamazingspiderman and was able to revisit him for the new film. I will be able to show some of the explorations we did with the character but I thought it made sense to start here! While at legacy I was able to have Stan Lee sign a copy of this for me, one of the few images of my own I have displayed! #mcu#marvel#spiderman#thelizard#comicbookmovies
Ian Joyner a écrit:
Early round of exploration for #thelizard for #spidermannowayhome was to see him in his lab coat (and purple pants!) plus showing that he has grown more beastly and developed some mass and a snout. Such an honor to be a part of this project. Really fun to think about how he may look as the Lizard took more hold of him but wouldn’t work for the story. #mcu#spiderman#marvel#creaturedesign
Ian Joyner a écrit:
Another exploration on #thelizard for #spidermannowayhome what an amazing (spectacular!) show too be a small part of. As always super grateful to @marvelstudios and @ryan_meinerding_art for letting me be involved with these films. A real treat to get to revisit the character I worked on back in 2012(which is a shockingly long time ago) and such a great thing to see all those iconic villains again! #mcu#marvelstudios#spiderman#conceptdesign
Diverses étapes de production partagées par Josh Staub :
joshstaub.art a écrit:
In Disney’s Far From the Tree, the characters are CG animated, but the backgrounds are painted in a more traditional manner. Here’s a simple behind-the-scenes look at a typical shot. . 1) I begin the background painting by using traditional marker and pencil on photo paper based on a simple modeled layout and camera setup defined by the incredibly versatile @joabaldwin (see step 2). Once I’m happy with the marker sketch I scan and assemble the pieces in photoshop until arriving at the final background painting. I also draw/paint the characters in place to visually explain to downstream departments how they should appear in the shot. . 2) @joabaldwin then updates the rough 3D model to match the final painting, which then becomes the foundation for the placement of the characters for animation, and also because we need it to make the film work in stereo (3D)! . 3) The CG animation team (led by the brilliant @chadsellz) creates the tear jerking and/or hilarious character performance. The characters are then rendered flat and receive a visual treatment (lines, shadows, eye specs) to make them “appear” 2d animated (this was a technique I originally developed for a short circuit project - Exchange Student, also directed by @tallychyck, more on that in a future post). Finally, the Lighting team (led by the innovative @rogerlee.art) integrates the characters with the background and adds the finishing artistic touches (reflections, water movement, caustics, dynamic shadows), to make the shot sing! This was actually one of the dozen or so shots I also lit for the film. . Far From the Tree was a labor of love for all who worked on it and I couldn’t be more proud of the team and the final result. Enjoy the film in theaters with Encanto! . #farfromthetree#disney#disneyanimation#animation#encanto#conceptdesign#conceptart#productiondesign#waltdisneyanimationstudios
This was the first completed shot of Far From the Tree, from which we learned so much about how to animate and then integrate the cg characters (meant to look hand drawn) with a 2d traditionally painted environment. This shot also includes a subtle camera move which also posed a challenge. . Once this shot was finished I was confident in the technique and that we could make it work for the rest of the project. . 1) My first background painting (of 92 paintings in total!) for Far From the Tree, done traditionally using copic markers and pencil and then scanned and assembled in photoshop. I also draw/paint the characters in place to guide the downstream departments. . 2) The completed shot from the film! Go see Far From the Tree in theaters with Encanto! . #farfromthetree#disney#disneyanimation#waltdisneyanimation#waltdisneyanimationstudios#encanto#painting#animator#painting#conceptdesign#animationart
joshstaub.art a écrit:
Here’s another background painting from Far From the Tree which I painted traditionally and then assembled in photoshop … but what does that mean exactly? Here’s what: . 1) Final background painting (to provide context for the following slides). I also paint the characters in place to guide downstream departments. . 2) Layout render (roughly modeled by the versatile @joabaldwin), which I use for reference in order to make sure the camera and characters will be in sync. This is actually the starting point. . 3) Scanned pencil and copic marker drawing/painting of the tree element done on real paper to match the rough model … I had to paint many elements like this in separate pieces in order for the 3d and camera moves to work! . 4- Cutting out and assembling the scanned pieces in photoshop! . 9) The final shot from the film, first animated in cg by @bhomman, then with the 2d character look technique and dappled lighting applied by the incredible lighting team! . Go see Far From the Tree on the big screen with Encanto while you still can!
D'ailleurs la VF semble avoir essayé de "gommer" un peu cette théorie. Dans la VO, Olaf affirme un "Did you know that..." ("Saviez-vous que...") tandis qu'en VF la traduction a choisi un "Vrai ou Faux". Ce qui a pour effet de laisser un peu cette idée sous forme de théorie, potentiellement fausse, alors qu'elle était affirmée au milieu d'autres faits réels par Olaf en VO (qui en plus ajoute que cette idée est décriée par beaucoup mais est vraie). La théorie de l'eau (ayant une mémoire) n'étant ensuite réellement présente que lors d'événements trop magiques pour être réels, ce qui crée naturellement une distance avec la véracité de cette idée.
Ok seriously? I get to work on a horse? A water horse called the Nokk? My career was complete. I was 5 years old again, well I still have horses so I never grew out of it I guess. I worked closely with character, animation, effects, tech Anim. Look and lighting. It took a team to make this happen. I love these folks for making my little girl dreams come true. I can’t thank them enough for making this Nokk so beautiful. #disney#waltdisney#disneyanimationstudios#animation#frozen2#frozen2art#nokk#waterhorse#conceptart#visdev#visdevelopement#waterhorse
stubaluna a écrit:
I remember when I was 3 or so and my grandfather put me in front of the saddle and galloped across the field, what is now the Burbank equestrian center. I remember being disappointed because our rental horse had a short tail. I was hoping for a long flowing fairytale tail. But the moment that horse flew across the field I was hooked. Saving baby sitting money bits at a time I was able to rent the horses on my own. After I started working at Disney I bought my first car and then a horse. They are magical creatures and working on this Nokk was a fairytale dream come true. #disney#waltdisney#waltdisneystudios#waltdisneyanimationstudios#waltdisneyanimation#elsa#nokk#waterhorse#frozen2#frozen2art#conceptart#visdev#visdevart#visualdevelopment#lightingdesign
The very first costume designs that I was asked to work on for #frozen2 over 2 years ago. These designs were for a scene that ultimately didn’t make it into the film, but that featured the girls traveling in inclement weather. While Elsa didn’t keep her hood, a lot of the elements of this design ended up being adopted into her travel coat. We were so early in the process that we didn’t have a plan for color yet, so I was asked to work in greyscale. We don’t always work this way, but sometimes it is good to switch things up! After a few years away, it was so wonderful to work with these characters again. They just feel like home #frozen2#elsa#anna#disneyfrozen#disney
britsketch a écrit:
As we started to explore Elsa’s travel costume, we had just a few elements that we knew we needed to include. She needed to be wearing layers, her hemline had to be off the ground, and she needed to be wearing some kind of pant to support the amount of activity she would be put through. Also, if her costume could include an element that would move well in the wind (since we did know that Gale would be interacting with her), that would be a bonus. I thought it was important to include Gale in the design process to give everything a little more context. Normally on Frozen we try to hone in on a favorite design or two before we show our directors, but this was such new territory for us that we did show all of these designs (and probably more) to get their feedback. Ultimately, they asked for a combination of two of these designs and that is where we landed - can you tell which two? I love working with Elsa, and this assignment was certainly a challenge. The process of working on these films is always an exciting journey #frozen2#frozen#elsa#disney
Sujet: 
Sujet: 
Dim 28 Jan 2024 - 9:00
Les Cartoons
Cutting out and assembling the scanned pieces in photoshop!
