Index

A

A. J. Kwak series, 112

Abstract film, visual development work, 45

Action

and composition, 74

design choices, 17

The Adventures of an * 131

Africa, 47, 66–71

African Tribal Art, 58

Aladdin, 29, 48–55, 89, 105, 120

Alaska research trip, 142–147

Alexander Nevsky, 20

Alien, 20

Allen, Woody, 20

Allers, Roger, 67, 148

Altieri, Kathy, 52

Amadeus, 20, 38

Amarcord, 20

Amblimation Studio, 67, 100, 101

Andersen, Hans Christian, 148

Anderson, Ken, 129

Animation Department style guide, 11

Antonioni, Michelangelo, 20, 26

100 Arabian Nights, 49

Architecture

and sketching practice, 22

St. Petersburg, 148

in visual development, 44

Artistic freedom, 9

Artmatic software, 182

Ashes and Diamonds, 20

Ashman, Howard, 48

Australian Aboriginal Art, 58

Azadani, Rasoul, 52

B

Baby Herman (Who Framed Roger Rabbit), 5

Bacher, Hanne, 102

Backgrounds

artists, 8

Bambi glass plates, 203

and color choice, 141

department style guide, 11

design choices, 17

painted glass masterpieces, 196–207

and values, 136

Badger brush, 120

Balance

and composition, 72, 75

shapes, 124

Balinese silk painting, 59

Balto, 100, 143

Bambi, 118, 119, 140, 200–207

Bancroft, Tony, 112, 192

Barry Lyndon, 20

Bass, Saul, 129

Battleship Potemkin, 20

Beatrice and The Great ‘Film Noir' Director, 20

Beauty and the Beast, 5, 26, 28–41, 47, 48, 51, 105,

118, 120

Benton, Thomas Hart, 154

Bergman, Ingmar, 20, 44

Bernal, Mitch, 153

Bertolucci, Bernardo, 20

The Bicycle Thief, 20

Bierstadt, Albert, 58

The Birds, 20

Black Narcissus, 20

Black Rain, 20

Black value, 136

Black & white, in Mulan development, 105

Black & white films, 20

Blade Runner, 20

Blair, Mary, 129

Blaise, Aaron, 144

Blowup, 20

Boldini, Giovanni, 114

Bongo, 50

Boorman, John, 20

Bozzetto, Bruno, 131

Brandt, Rune, 144

Braque, Georges, 146

Brazil, 20

Bridge Over the River Kwai, 20

Brother Bear, 76, 142–147, 151

Brother Sun, Sister Moon, 20

Budget considerations, 45

C

Camera angles

and composition, 74

dialogue set-up, 62–63

effects, 26

and formats, 99

jump cuts, 64

movement and composition, 77, 81

Mulan floor plans, 65

shot examples, 61

and sketching practice, 24

and staging, 94

visual development work, 45

from workbook meeting, 60

Camera lens

effects, 26

and sketching practice, 24

and staging, 97

Cartoon development work, 45

Casson, A. J., 58

Cat People, 20

Cats, 67

Center of interest, 122, 16

CG animation, 131, 153, 154, 160, 162, 166

Chagall, Marc, 146

Chang, Chen-Yi, 102, 105

Chaplin, Charlie, 44

Character, 20

Character design

design choices, 17

interaction and composition, 85–86

movement analysis, 26

and sketching practice, 14, 22, 24

in visual development, 44

China Doll, 100

China research trip, 47, 121

Chinatown, 20

Chinese art

comic books, 109

immersion in, 114, 115

and Mulan, 100, 102, 105

Choreography, and rhythm, 123

Chwast, Seymor, 58

Cinderella, 13, 43

Cinemascope format

and composition, 76–77

invention, 98

and sketching practice, 22

Citizen Kane, 20, 65

Clay animation, 131

Clean-up Department, and style guide, 11

Clements, Ron, 48, 89

Close-up lens, and sketching practice, 24

Coen, Joel, 20

Color-chapters, 140

Color choice

and composition, 74

and mood, 138–141

visual development work, 45

Color concept, in early production, 11

Color Department, and style guide, 11

Color Script

in early production, 11

Hercules, 90–91

Color-transitions, 140

Comedy movie

sketching examples, 192–195

visual development work, 44, 45

Comic books

artists, 109, 112

in Mulan development, 105, 109

Comic characters, and color choice, 141

Commercials

rhythm, 26

staging, 93

style, 131

Composition

Brother Bear, 76

camera movement, 81

complicated sequences, 94

definition, 72

film analysis, 26

and formats, 76–77, 99

knowledge developments, 18

Lilo & Stitch, 134

lines, shapes, and values, 82

live-action-based studies, 85–86

mood and action, 74

and movement, 77

and rhythm, 92, 122, 124

rhythm and balance, 75

static and moving images, 78

Computer software

for archiving, 15

C Artmatic, 182

and decision making, 168

for image capture, 203

and staging, 95

Concept design, in visual development, 44

The Conformist, 20

Contrast, 26

Cook, Barry, 101, 105, 112, 192

Corot, Jean-Baptiste-Camille, 113

Costumes, in visual development, 44

The Cranes are Flying, 20

Creative process, 58–59

Cukor, George, 20

D

Dali, Salvador, 127

Dangerous Liaisons, 38

Danton, 20

Davis, Steward, 58, 153

Dead Men Don't Wear Plaid, 20

Decision making

color choice, 45, 74, 138–141

design choices, 17

necessity, 168

shot choice, 61, 65

Deja, Andreas, 30, 52, 100

Der Golem, 38

De Sica, Vittorio, 20

Design choices, 17

Development timeline, 38

Dial M for Murder, 20

Dialogue scenes, set-up, 62–63

Die Nibelungen, 38

Dinosaur, 102

Director, in production design, 8, 10

The Discovery Channel, 15

Disneyland series, 203

Disney Studios

archives, 109, 118

Bambi glass backgrounds, 200–207

choosing artists, 30

and color choice, 140, 141

early Africa work, 67

early tour notes, 198–199

first pure CG-movie, 153

research trips, 47

and Salvador Dali, 127

short films, 129

Distribution of masses, 124

Donald Duck, 127

Don Quixote, 131

Dore, Gustave, 58

Double Indemnity, 20

Dr. Mabuse, 20

Dr. Zhivago, 20

DreamWorks, 102

Dudoc du Witt, Michael, 30

Duel, 20

The Duelists, 20

Dumbo, 118, 146

DVD, 15

E

Earle, Eyvind, 54, 129, 141

Eastman Kodak, 98

Edison, Thomas, 98

Editing, film analysis, 18, 26

Effects Department, and style

guide, 11

8 1/2, 20

Eisenstein, Sergei, 20

Elmer Elephant, 132

Emotion/action curve, 139

Emotions

editing effects, 26

from music, 18

visual development work, 45

The Emperor's New Groove, 47, 148

Engel, Jules, 129

Eskimo Art, 59 European art, 141

Excalibur, 20

Executives, 8

F

Fantasia, 118, 127, 140, 158

Fantasia 200, 102

Farmyard Symphony, 119, 132

Fashion designers, 153

Faust, 38

The Fearless Vampire Killers, 20

Fechin, Nicolai, 148

Fellini, Federico, 20

52 Pick-Up, 20

Film analysis

basics, 18

cameras, 24

floor plans, 24

rhythm and balance, 26

sequences and image ratio, 22

suggested films, 20

Finn, Jim, 153

Fleischer, Dave, 127

Floor plans

and camera rules, 60

Mulan, 65

and sketching practice, 22, 24

and staging, 94

Foregrounds

Bambi glass frames, 203

Cinderella, 13

and values, 136 Forman, Milos, 20

Formats

in composition, 76–77

composition and camera-moves, 99

Panavision, 77

and sketching practice, 22

types, 98 Fragonard, Jean-Honoré, 38, 58

Fraidy Cat, 162–167

Framing Effect, 13

France research trip, 35, 47

Frankenheimer, John, 20

Franquin, André, 58

Frazetta, Frank, 58

French Connection, 20

Frenzy, 20 Furniture designers, 153

G

Galien-Laloue, Eugene, 114

Gans, Christoph, 20

Gaskill, Andy, 89

Geffen, David, 102

Genre, visual development work, 45

George, Mac, 153

Gerome, Jean-Leon, 49

Gilliam, Terry, 20

Gilmore, Jean, 30

Girard, Francois, 20

Girl with a Pearl Earring, 20

Gladiator, 20

Glaser, Milton, 58

Glass backgrounds, masterpiece

examples, 196–207

Gogol, Derek, 30

Goldberg, Eric, 50

Goofy, 127

Gordon, Dean, 153

Gouache techniques, 119, 120

Grand Prix, 20

Grant, Joe, 43

Grant, Joseph, 13

The Great Jewel Robbery, 131

Greek Gods (Hercules), 91

Greek research trip, 47

Grey value, 136 Grimault, Paul, 131

H

Hades (Hercules), 91

Hahn, Don, 5, 30, 32, 43

Hair, 20

Halas & Batchelor, 131

Handheld camera, 26

Hanna-Barbera, 127

Harmonius center, 75

Hawaii research trip, 132

Henn, Mark, 52

Hercules, 29, 88–91, 102, 118, 120, 127

Historical environment, in visual

development, 44

Hitchcock, Alfred, 20, 24, 44

Hokusai, 59

Horror movie, visual development

work, 45

House of Flying Daggers, 20

Hubley, John, 129, 131, 191

The Hunchback of Notre Dame, 29

I

ILM, 54, 143

Image archives, 15

Image capture software, 203

Image ratio, and sketching practice, 22

Inspiration, in creative process, 58–59

In The Mood for Love, 20

Ivan the Terrible, 20

J

Jaffar (The Lion King), 52

Jaws, 20

Jessica (Who Framed Roger Rabbit), 5

Jewison, Norman, 20

Jippes, Daan, 51

Jones, Chuck, 5

Jump-cuts, 64

Jurassic Park, 20

K

Kalatozov, Mikhail, 20

Kar-Wai, Wong, 20

Katzenberg, Jeffrey, 102

Keane, Glen, 30, 52

King of the Jungle, 67

Klee, Paul, 158

Kubrick, Stanley, 20

Kupershmidt, Alex, 144

L

La Dolce Vita, 20

Lady and the Tramp, 9, 141

Landscape, in visual development, 44

Lang, Fritz, 20

Laserdisc, for research, 15

The Last Emperor, 20

La Strada, 20

L'Avventura, 20

Lawrence, Gay, 91

Lawrence of Arabia, 20, 26

Layout artists, 8

Layout Department, and style guide, 11

Leading the eye, 122

Lean, David, 20, 44

Legend, 20

Lenica, 191

Lens size

and sequence sketching, 24

and staging, 97

Le Pacte Des Loups, 20

Lewis, Buck, 153, 154

Light

Lilo & Stitch, 134

in visual development, 44

Light sources, and sketching practice, 22, 24

Lilo & Stitch, 132–135

Lines, in composition, 82

The Lion King, 5, 29, 47, 52, 66–71, 105, 148

The Little Matchgirl, 148

The Little Mermaid, 118

Live-action movies, 60, 85, 92, 94

Loisel, Regis, 58, 109, 112

Looney Tunes, 127

Love scene, and color, 139

Luhrmann, Baz, 20

M

M, 20

Macbeth, 20

The Magic Marker Wizard, 5, 119–120

Majorelle, Jacques, 49

Maquette, Kent Melton, 153

Mary Blair, 13

Matisse, Henri, 138, 158

Matrix Trilogy, 20

McLaren, Norman, 78

Medieval European art, 141

Melton, Kent, 54

Menken, Alan, 48

Merchandise, 11

Metropolis, 20

MGM, 127

Mickey Mouse, 127, 140

Minkoff, Rob, 67

Miracle in Milan, 20

Miro, Joan, 158

Modern art, 129

Moebius, 58

Mon Oncle, 20

Mood

and color choice, 138

and composition, 72, 74

and staging, 93

Moonbird, 131

Moran, Thomas, 58

Moulin Rouge, 20

Movie titles, style, 131

Mr. Arkadin, 20

Mr. Hulot's Holiday, 20

Mulan, 5, 8, 29, 43, 47, 51, 65, 82, 91, 100–121,

132, 144, 192

Music, and emotions, 18

Music clips, 26

The Music Lovers, 20

Music videos, staging, 93

Musker, John, 48, 89

My Fair Lady, 20

My Peoples, 154

N

Neverland, 140

Nielsen, Kay, 59, 127

Nine, Carlos, 58

Nino, Alex, 109

The Ninth Gate, 20

Noble, Maurice, 129 Normal format, 98

O

Oil techniques, 119

Oldenburg, 146

Oliphant, Pat, 59

Oliver Twist, 20

Olympus (Hercules), 88–91

101 Dalmations, 140, 166

Order, and composition, 75

Orientalist painters, 49–50

Othello, 20

Out-of-focus effect, 24

Out of the Past, 20

P

Pacing, and composition, 74

Panavision format

and composition, 77

invention, 98

and sketching practice, 22

Panoramic shots, and formats, 99

Paradine Case, 20

Paramount Pictures, 127

Paul Bunyan, 129

Peet, Bill, 154

Perkins, Bill, 52

Personal Projects

animated short, 184

artwork, 173–181

explorations, 171–172

new styles, 182–183

Peru research trip, 47

Peter and the Wolf, 50

Peter Pan, 112, 140, 199

Photoshop, 182, 184, 203

Picasso, Pablo, 58, 146, 158

Picnic at Hanging Rock, 20

Pink Elephants (Dumbo), 146

Pinocchio, 118, 119, 140

Pizazz Studio, 50

Plunk and Boom, 129

Pocahontas, 29

Point of view (POV), in dialogue set-up, 63

Polanski, Roman, 20

Popeye, 127

Posters, 11

Powell, Michael, 20

Production designer

process, 10–11

responsibilities, 8, 10

sketching practice, 14

Projection method, and staging, 94

Props

in early production, 11

in visual development, 44

Provensen, Martin, 59, 129

Psycho, 20

Puccini Opera, 13

Puppet animation, 131

Purdum, Dick, 30, 32

Purdum, Jill, 30, 32

Purdum Studio, 32

R

Raiders of the Lost Ark, 20

Raising Arizona, 20

Ranft, Joseph, 5

Rauschenberg, Robert, 146

Realism, visual development work, 45

Rebecca, 20

Red Shoes, 20

The Red Violin, 20

Reflection, Lilo & Stitch, 135

Reiner, Carl, 20

Rembrandt, 58

Repulsion, 20

Research trips, 47 Rhythm

and balance, 122–123

and composition, 75

composition studies, 124–125

film analysis, 26

leading the eye, 122

and shot choice, 65

and staging, 92–93

Richard Williams Animation, 50

Richter, Ludwig, 58

Rockwell, Norman, 59

Romeo and Juliet, 20

Rosemary's Baby, 20

Russell, Ken, 20

S

Sanders, Chris, 132, 134

Satyricon, 20

Scarfe, Gerald, 91, 127

Scott, Ridley, 20

Scribner, George, 67

Script

and composition choices, 74

in development cycle, 43

Hercules, 89–90

Searle, Ronald, 58, 129

Sequences and color, 140

and composition, 74

dialogue set-up, 63

in early production, 11

Mulan floor plans, 65

sketching practice, 22

snow and nighttime, 148

and staging, 94

The Seventh Seal, 20

70 mm format, 98

Shadows

Lilo & Stitch, 134, 135

and sketching practice, 24

in visual development, 44

Shadows and Fog, 20

Shapes

in composition, 72, 82

and rhythm, 122, 124

The Sheltering Sky, 20

Short films, 127, 131, 184

Shot choice

and decision making, 17

examples, 61

and visual rhythm, 65

Shukla, Umesh, 153, 154, 158

Siegfried, 20

Siepermann, Harald, 112, 143, 144

Signor Rossi series, 131

The Silence, 20

Silly Symphonies, 118, 127, 132

Sito, Tom, 30, 35

Sketching

Alaska research trip, 145

comedy examples, 192–195

in creative process, 59

and decision making, 168

dialogue set-ups, 62–63

early Mulan work, 101

practice, 14, 22

and values, 137

Sleeping Beauty, 43, 54, 141

Sluiter, Ric, 119, 120, 132

Smith, Lella, 118

Snow White and the Seven Dwarfs, 29, 81, 127, 199

The Sorcerer's Apprentice, 140

Space, and composition, 75

Spellbound, 20

Spielberg, Steven, 5, 20, 100, 101

Staging

complicated sequences, 94

and computer software, 95

definition, 92

and floor plans, 94

and lens size, 97

rhythm, 92–93

simple method, 96

and values, 137

The Steadfast Tin Soldier, 102

Story

and color choice, 140

and composition, 72, 74

and early production design, 10

Fraidy Cat, 166

importance, 8

and unproductivity, 192

Wild Life, 151

Storyboards

Aladdin, 51

Beauty and the Beast, 30

and camera rules, 60

in development cycle, 43

sketching practice, 22

Wild Life, 150

The Stranger, 20 Style

and creative process, 58–59

development, 182, 191

diversity, 127–131

early production work, 10

in visual development, 44–45

Wild Life, 153

Style Guide

creation, 11

Mulan, 119

Sunday in the Country, 20

Sunset Boulevard, 20

Sweat Box group, 11, 192

T

Tales of Hoffman, 20

Tati, Jacques, 20

Tavernier, Bertrand, 20

Team effort, 8

Telephoto lens

and sketching practice, 24

and staging, 97

Television

and color, 140

and sketching practice, 14

Tenggren, Gustaf, 59, 127

Texture

in composition studies, 86

Fraidy Cat, 166

Lilo & Stitch, 134

Thief of Baghdad, 20

The Thomas Crown Affair, 20

The Three Caballeros, 140

3-D animation, 11, 153, 166

3-D modelers, 153

3-D movies, 154, 162

3-D paintings, 158

Three Little Wolves, 132

Thriller movie, visual development

work, 44 Thumbnail sketches

in creative process, 59

for film analysis, 26

Lilo & Stitch, 134

Mulan developments, 109

for practice, 22

Wild Life, 150

Time Bandits, 20

Title logo, 11 ToddAO format, 98

Tom and Jerry, 127

Tommy, 20

Tones, and values, 136

Toot, 129

Toppi, 58

Touch of Evil, 20

Tourneur, Jacques, 20

Travels With My Aunt, 20

The Trial, 20

Triangle rule, 86

Tricks of Our Trade, 203

Trnka, Jiri, 59

Twelve Monkeys, 20

U

Universal Studios, 5

Unproductivity, 192

Unterberger, Franz Richard, 113

UPA, 129, 191

Utamaro, Kitagawa, 59

V

Valmont, 20 Value

in composition, 82

definition and use, 136–137

and rhythm, 122

Van der Wende, Richard, 50, 54

Van Diem, Mike, 20

Ventura, Valerio, 91

Vertigo, 20

VHS, for research, 15

Victorian England, and color choice, 140

Video prints, for research, 14–15

Vink, 112

Visual development work

budget consideration, 45

camera angles, 45

Mulan, 105

in production timeline, 44

style, 45

team responsibilities, 10

Voyeuristic effect, 26

W

Wachowski Brothers, 20

Wajda, Andrzej, 20

Walker, Bob, 144

Warner Brothers Studios, 127, 129

Watercolor techniques, 119, 120, 132

Watteau, Antoine, 38

Webber, Peter, 20

Weir, Peter, 20

Welles, Orson, 20

Whistle, 129

White value, 136

Who Framed Roger Rabbit, 5, 18, 30

Wide-angle lens

effects, 97

and sketching practice, 24

Wide-screen formats, 22, 98

Wilder, Billy, 20

Wild Life, 145, 150, 151, 152, 153, 154

Wild Strawberries, 20

Williams, Richard, 5

Winter's Light, 20

Witlatch, Terryl, 143

Witness, 20

Witness for the Prosecution, 20

Wood, Grant, 154

Workbook meetings

camera rules, 60–61

dialogue set-up, 62–63

and unproductivity, 192

Y

Year of Living Dangerously, 20

Yimou, Zhang, 20

Z

Zagreb Studio, 131, 191

Zeffirelli, Franco, 20

Zemeckis, Robert, 5, 18

Zick, Bruce, 91