VIGNALI STUDIO

In 2003, when I had first arrived at Sony Pictures Animation, I was given the assignment of doing some visual development work for Astro Boy. It's hard to believe it's been five years.

Being fans of the original series, it was a dream project for Richie Chavez and I. We created some designs together, and I put together a poster for an inter-corporate mid range planning report. I used one of Richie's small robot designs, and I tried to create a look for Astro Boy himself that was new and different.

Richie and I had also written a treatment for the story that was never seen because the fragile deal with the Tezuka family and Sony corporate unraveled during this same time. The deal with Sony fell apart; for us it was too-little-too-late, and we missed out on a tremendous project.

The project has since moved onto Imagi Animation Studios. Good luck guys! I can't wait to see the film next year.

Greetings everyone!

Sorry I've taken so long in posting anything. I got swamped with life stuff. Unfortunately my posting may continue to be a little sporadic for a little while, but I'll try and keep posting when I get a chance.

OK, here we're going back ten years ago when I was doing some work for Disney as a freelancer. The project was Atlantis, and I did several pencil drawings for them as I tried to explore what this world looked like.

There is a great book on the project called Atlantis, The Lost Empire, The Illustrated Script.

--M

This drawing was done during a testing phase for the Open Season Project.

We were in the process of creating a prototype version of our film in CG, in order to test out the style of the film. We did a crane shot of the camera moving over the landscape, trucking through the trees, and then camera moves over a hill, and finally we reveal this shot. So, the entire drawing was done in various levels like a 2D film, with trees in front on an overlay, meadow and hillside with bushes and rocks, and then the finale with the waterfall and and old saw mill.

We put it all together using Maya like a multiplane camera with my drawings placed on cards. We completed this exercise, but we never completed a CG version of this shot as we had originally planned.

The drawings were done with graphite on animation paper.

I've gotten a few comments that seem to suggest this isn't happening, or that it isn't even being talked about at the federal level. I provided links in my previous post to make it easier to follow this story. Please, just follow the links my friends.

Go to GovTrack.us and you'll see the Bill S.2913 has been introduced to the Senate on April 24, 2008.

As the Full Report link in the previous post will show, this has been presented to the both the house and senate. This is the first step in the legislative process, which means it is being deliberated, investigated and revised before it enters into the general debate.

If artists don't get motivated about this, or believe this is a hoax or an internet rumor, then be prepared to lose the copyright protection you currently have. Make your voices heard so as to add balance to those who want to create the Orphan Works Act. Now is the time you should be giving your testimonies. Politicians have no idea what it is to be an artist, educate them. Or else we may lose the copyright protection to spread our pixie dust across the bloggosphere.

If this law passes, this may be one of the only ways to protect our artwork when we post online. Essentially, I would be rendering my artwork useless with a watermark to would-be users seeking to use my artwork without just compensation. But this watermark protection isn't a guarantee, because anything printed or reproduced without your copyright will now be subject to theft! (That's not to say your copyright wouldn't be purposefully stripped for the purpose of theft.)

Right now, anyone can download my artwork, but no one can legally profit off my artwork without just compensation to me. This is all about to change with this new bill being proposed. S.2913 and H.R. 5889.

Seeing a great big watermark is not a great way to blog or to show samples of our artwork on our websites, but this may be one of the only real protections left to us should this become law.

The Orphan Works act works like this. Is someone finds your artwork on the web, or printed elsewhere, without proper copyright and registration (or with the copyright stripped off), they can register it -- after a “reasonable and diligent search.”

What is a “reasonable and diligent search?” Our artwork would be posted somewhere within the dozens of privately owned registration houses, and it would up to us to find our artwork and claim it.

There will be dozens and dozens of privately owned registries, and billions of images throughout 100 years to sort through. Rendering the process of claiming our own images as nearly impossible. If, on the off chance, you find that you have been ripped off, your infringement claim is only limited to, “reasonable compensation.” (As per their actual literature on page 115 in the Orphan Works Full Report.) What is reasonable compensation? Well, it would NOT be the current compensation of $150,000. worth of protection the current law affords us. Fair compensation means there will be NO penalties for copyright infringement. But, if you catch them, they'll pay you what a court deems is a reasonable usage fee.

Now, if you want to protect your images from being ripped off, you would need to register your images with all these privately owned registries. How much will cost? Who knows? How many images to do you draw per year? I just registered one script idea with SAG, and it cost me $20.00.

As a commercial artist the Orphan Works Act puts the burden of copyright protection and enforcement on the artists, while at the same time giving a pass to the users. We have to register with all the registry houses, and they only have to register with one. This is a bad bill that seeks to undermine the government's long-standing legal protection for artists.

Who are these registration data bases that are going to profit from this? Microsoft, Google, Corbis ... to mention a few.

Whenever I see both Democrats and Republicans come together, get ready to grab your wallet! Such is the case with the Orphan Works Act Senate Bill S.2913 and House Bill H.R. 5889. Reps. Howard Berman (D-CA),Howard Coble (R-NC), John Conyers (D-MI), Lamar Smith (R-TX), (Chairman and Ranking Members of House Judiciary Committee Subcommittee on Courts, the Internet, and Intellectual Property and Full Judiciary Committee Chairman and Ranking Member respectively) and Sens. Patrick Leahy (D-VT) and Orrin Hatch (R-UT).

Please get active and protect your copyrights, or be prepared to lose them!

Read the act, testimony or full report
Go to the Illustrator's Partnership Resource Page !
See the Brad Holland video about this act
Government contacts and sample letter!

When I was working on Brother Bear for Walt Disney Feature Animation, part of my job as a freelancer for Disney was to design a world of characters. So, I sharpened my pencils, and drew up a bunch of different North American mammals, in this case the musk ox.

The drawings were, again, old-school. I drew these out and colored them with marker.

Here's another prop from Surf's Up.

There was a scene during our film when our characters were going to be at a luau and banquet. The scene was storyboarded, a prop list was made, and we designed the props (and in some cases the props were painted and modeled in 3D), but the scene was later cut from the film. Even still, I thought it was a fun idea and a drawing worth sharing.

This little guy is playing a bamboo drum, similar to the PVC drums. Since the penguins already have flippers, the instrument would be easy to play. Watch this video to see how it would have sounded. Just click here to listen!

He also had bamboo chimes and coconut cymbals to accompany his drums.

Here's one from a few years ago...OK, a dozen years ago.

I was poking around my files and ran across a folder of old artwork. This image was drawn back in 1996, when Disney animation was still 2D and had just released Hunchback in the theaters, and Pixar's Toy Story was released on VHS.

This was drawn with graphite on ledger paper.

If you would like to see the rest of this image, go to Sketchclub!

Also, the very talented Paul Shardlow has joined Sketchclub! This means he has paid his membership fees, learned the secret handshake and swallowed the the goldfish!

Come take a look and compare our take on the same "chap."

I know that several of you have asked that I post some of my figure drawings. Here's a different approach than you are probably NOT used to seeing. I've tossed aside the anatomy, and am playing around with shape and design.

I think figure drawing is vital to any good designer. However, I think I need to preface that with this caveat. If you learn to draw what you see, you will be no different than a camera -- I think it is more important to design what you see.

I've studied the anatomy quite extensively, but knowing where the muscles are doesn't make a good drawing. Capturing character, personality and the essence of life is more important than making sure the sternocleidomastoideus has two insertions at the clavical (unless you are drawing medical diagrams).

I've seen some artists come to figure drawing classes with expensive paper, and drawing equipment -- they practically sign their drawings before the start. But, I think it is much move valuable for us to use these classes to learn, practice and experiment. I try to draw on the worst crap, so that I don't fool myself into believing I have to do a good job in order to not waste the materials.

Figure drawing classes should be where we allow ourselves to take chances.

Women in Art, by Philip Scott Johnson.

OK, as requested, I'll post a few more, then I'll move on.Here are some prop designs I did for Surf's Up.

I play the ukulele, and so I took a specific interest in designing Big Zs uke to look as authentic as possible. Since penguins are smaller than people, I thought it would make sense to use a smaller object, such as a coconut shell as the body. Again, in keeping with our world, all the items for the uke were found items that you'd find on the seashore.

I tried to be as economical as posible with my props, so I was always trying to find ways to reuse a prop. In this case, the shells, bamboo and coconut were used over again quite a bit. Heheheh, this coconut was used so much, I kept getting teased about it.

I had also heard from our directors that Jeff Bridges (who also plays the uke) wanted to make a real one based on this design. I don't know if he ever did that, but it sure would be fun to see.

And here I've got the drawing for some of the wooden Tikis you see throughout our movie. These couldn't be regular Tikis, but instead they are based on bird designs. Look closely as you'll notice they are in keeping with Polynesian design, but they are made to look like birds.

The modelers also had a bit of fun with these too. They divided the assignments as per the Tikis that looked most like them.

This weekend the Annie Awards were held. Surf's Up had ten nominations, but it was Pixar's Ratatouille that ran off with the big cheese. Out of our ten Annie Award Nominations, we only received two Annie Awards under the Individual Achievement Categories.
Animated Effects
Winner: Deborah Carlson - "Surf's Up" - Sony Pictures Animation
Animation Production Artist
Winner: John Clark - "Surf's Up" - Sony Pictures Animation

Congratulations to both Deb and John, and to all the Annie Award recipients.

Here's a few more images from the project. I'll stop posting these and start posting something else.

This is a design I did for the fish piles in Shiverpool. I designed the igloos as being flat and squared, so as to compliment the cone-like shapes of the fish piles. I wanted it to look like a pile of fish, instead of a pile of lumber, so I designed the fish with a curve, so we could get the sense of the fish having weight.





And here is a portion of the ice walls I designed for the Antarctica scenes. There was a lot of effort in getting the canyon-like walls to look ideal, but yet still believable. If you look at the base, you can see the tiny Shiverpool island. I also made an effort to design the ice under the water as well too, as you can see from this image. There was another drawing that wrapped around this canyon, and started another canyon behind this one. That way we could use that as a backdrop to our canyon in order to create the silhouette against the sky.

This drawing, when combined with the other drawing, is pretty large. I would estimate it about three feet by four feet.

The ASIFA-Hollywood Annie Awards are going to take place this Friday, so wish me luck. I'm up against some very talented individuals.

Now the award is by no means going to be as big and elaborate as this trophy (Lia) in Surfs' Up, but it is much more prestigious. (The character design was drawn by Annie Award Nominee, Sylvain Deboissy.) It's like the Oscars for animation.

The whole point of Surf's Up was that awards shouldn't overide the reason why you do something -- in their case, surfing. That is a good lesson to learn and know. When I worked on this movie, the Annie Awards were the farthest thing from my mind. Heck, I was too busy trying to stay on top of the schedule. However, now in hindsight, it's flattering to be recognized for my efforts by my peers within the industry.

However, this does give me a good reason to post some of my prop design!

The assignment was that we needed a trophy for the competition, so in order to minimize production costs for modeling and rendering, I tried to use as many existing items to construct the award. You'll note that the top of the trophy has a little Big Z figure carved out of wood. This is the same trinket being sold in the bazaar, and the same teaching tool that Big Z uses on the sand when coaching Cody. My good friend Armand Serrano created all the other versions of the trophy from this version by taking this one apart and putting it together in a different way each time. The trophy scene is perhaps one of the funniest moments in the film.

This was one of the designs for Geek's tree, it was based on a banyan tree. Our character Geek lived insided the roots -- his home was sort of like a burrow under a tree.

But, that alone isn't enough information to design the tree, so I created a series of documents to help explain the tree exterior. Here's another document from that design package that was created to describe the construction of the banyan tree to the modeling department. (My good friend Armand Serrano did an excellent cut-away view of the interior, I hope he posts that on his blog.)

Part of the trick is drawing and desgining any element, but in this business the other part is understanding it well enough that it can be communicated to the next department. In the end the tree turned out extremely well; we had some of the best modelers in the business working on our show.

Today I just found out that Surf's Up was nominated for Best Animated Feature. Woo-hoo, now that was a pleasant surprise.

Chances of getting this award are slim because last year another animated penguin movie won, and it would be hard pressed for the Academy to vote two penguin movies back to back. Nonetheless, it was great to have the nomination, and there's always a chance.

Here's a drawing I did for Surf's Up in order to work out what we expected from the water effects. In this drawing I tried to draw every aspect of what we needed from our CG bretheren, Rob Bredow and the rest of the guys at Imageworks. I called out each of the individual components we needed to see, from the swell, plunging wave, rolling foam, soup and shoreline foam. There were about 25 different variables I had called out.

Still, this makes a pretty drawing, so I thought I'd post it. It also has a Vignali penguin standing on the shore. You can also find this drawing in the Making-Of book. (This image is nice and big! Enjoy.)

--M

The reality about working on animated pictures is that it is not all pretty pictures and fun conceptualizing. Once the project moves into "production" the job entails that we solve location problems, come up with cost effective design solutions, control sightline placement, or provide for the overall structure or mechanics of ANY given object.

A virtual world is still a world, and so it must be thought of in terms of 3D -- THE ENTIRE WORLD must be thought of as a real physical place.

In this case I had to design Pengu Island, I took it upon myself to work this out. Granted, we never see a top down vantage point in the film, but still the design had to be made to have the 3D modelers create the island.

With every new location, I tried to imagine the most effective way of communicating my designs or art direction to everyone on the project. We had already done several drawings of the beaches, the whale landing station, Reggie’s trinket bazaar, the stage and the Big Z Memorial. Now we had to tie it all together, I thought perhaps an elevation map would be the best way in this case.

The foreground areas marked in color are those areas we modeled, for the rest we used lower res models and matt paintings.

This drawing shows the topography, with added layers of elements for placement -- such as rocks and other various locations. Each new element had its own layer. Ultimately, there were other layers with bush placement, tree placement and prop placement. The drawings were then put into a design package and delivered to the modeling department in a presentation.

When we started the Surf's Up project, there was no script, directors or character designers. Regardless, we knew this was going to be our next project and so began the task of fleshing out this world.

One of the inherent problems that penguins have is that they all look a like. So, I thought it would be interesting to play with the patterning of the penguins to make them more distinctive and interesting. I began exploring patterning that would reflect the tattoo patterns that surfers today wear. Here's one of my rough concept sketches for my idea.

When the directors came on board, they liked this idea of tattoo patterning and so it stuck. Later on, Sylvain Deboissy became our character designer and did a fantastic job creating the various patterning you see in the final character designs.

This drawing is pen and magic marker. No...heh-heh...magic marker is not a computer program.

I'm not sure, but this may be my last post before Christmas.

I hope all of you have a wonderful holiday (and to those that have already celebrated Chanukah, I hope it was equally wonderful). To those of you that will be away from your computers, I wish you a wonderful and hope filled New Year.

To those celebrating Christmas this year, Merry Christmas...and may God bless!

This is an early development piece for Surf's Up, a concept that never made it into the film. This being the penguins in the Antarctic would surf on the falling iceberg’s wakes.

But, we can still see the ice surfboards and tattoo/feather patterning I developed that did make it to the film … however I was not the character designer once the project moved into production. That job was given to another Surf’s Up Annie Nominee Sylvain Deboissy. He did an incredible job with the designs, I’m really proud of him.

The drawing was done on Clearprint Vellum with Prismapencil.

Here's a close up of the jungle.

Here's another drawing for Surf's Up.

During the early development stages of the project, I was given the assignment to design the tropical jungle. It had to look both beautiful and lush.

An attempt was made to create this image using our vis dev 3D crew, but we encountered a bunch of unexpected problems. In doing so, we were able to indentify a lot of problems that would come later on. Although the vis dev model for this image didn't come out as planned, it was invaluable to our crew.

You can see the penguin in three parts of this drawing as he works his way across the drawing from left to right.

The drawing was drawn with prisma pencil on vellum and is aproximately 3 feet long.

Fellow bloggers, I have some really good news -- I have been nominated for an Annie Award under the Production Design in an Animated Feature Production category.

Special congratulations to the other nominees for a job well done! The nominees for this category are as follows:

Doug Chiang – "Beowulf" – Paramount Pictures

Harley Jessup – "Ratatouille" – Pixar Animation Studios

Marcelo Vignali – "Surf’s Up" – Sony Pictures Animation


All in all, Sony Pictures Animation has 10 nominations this year, and I have the distinct privilege of being one of those ten representing the company, our movie, our team and my work.

Wish us luck! And, if you are a member of the academy...I sure would appreciate your consideration.

Askel and Milky, here's another bear drawing for ya.

This was drawn with marker on newsprint.

One of my assignments was to design some of the human characters too. So, with a bit of research, I did a series of drawings that I believed would be helpful in terms of authentic costume design for pre-Columbian natives in the New World, tools and activities.

In this drawing, I have called out the tools -- and how they're used. This character is drilling through solid bone with a reed and a hands-free vice. The reason for this is to make a bone hook. The kind you see being sold as necklaces today in gift shops.

Showing a variety of different tools, and their usage, I believed would help they guys on the Brother Bear project see things in a different way.

Here, I'm illustrating how the natives would have made planks of wood with an obsidian adze.

These poses and characters were all drawn without photo reference, but rather with lots of research on the usage of stone age type tools.

I was fortunate to have worked on a previous project where I had already done research on this subject, and already bought the books on Native American stone tools. I'd be pretty handy if I ever ended up on a deserted island!

The drawings were drawn on newsprint with prismacolor pencil.

Here's a close up as per Mark's request.

Here's one of the background designs I did early on the Brother Bear project -- before I concentrated my efforts on the animals in this world.

I wanted to come up with an iconic view of the world that would set it apart from other prehistoric interpretations. The directors described to me that the film takes place during the end of the Ice Age, as the world began to warm up. I thought it would be visually interesting to see a glacier melting in a way to create a grand-canyon-like effect, with a giant waterfall cascading out of a wall of ice.

Well, nowhere in the film do you see anything like that because the directors chose to go more naturalistic than fantastic. Still, I thought it would be fun posting.

As a visual development artist, it’s my job it to come up with as many visual ideas that I can in the hopes that somewhere in my exploration, I will stumble across a particular direction that will work for the directors.

Here's a rough sketch/layout idea I did for Brother Bear.

But first, a little back story. Originally, Kenai was a little bear, and he met up with an older bear called Grizz. The father son relationship is similar to the final version that audiences saw. In the final version, the Kenai character was switched, having to step up to the plate and become the father/mentor. It was a very interesting twist and an improvement to the original story.

In this scene, Kenai (the young bear version) wanders into an abandoned human village. Longing to be human once again, he goes into one of the dwellings. Feeling trapped in this bear's body, he collapses on the floor in resignation.

Grizz sets off to find Kenai and discovers him in the dwelling. But, as he arrives, he's contrasted between the scary version of a bear drawn in the petroglyph, and himself in the same shot.

My intention was to have the camera start with Kenai feeling trapped, and then pan over to reveal the petroglyph on the wall ... and then Grizz steps into the frame.

Again, here's another one for Brother Bear. It goes along with my explorations of the animals in the land.

This drawing was drawn with Prisma Pencil on Clearprint vellum.

This particular image made it to the Making-Of book, but it was reproduced so tiny that it wasn't worth the ink! So, here it is, a little larger so as to see how I figured out the structure of the bears.

When I was working on Brother Bear, I was asked to draw a lot of animal designs. I hesitate to say character designs, because I wasn't given the task of designing any one character in specific, but rather the Disney wanted to pick my brain as to how I would design the animals in this world.

The drawings I did would then be interpreted by the animators, and that version was the final version we saw on the big screen.

Here's my take on the bears. I was surprised and flattered to see that my design for the baby bear ended up pretty close to what the final result was for Coda.

I drew these out with ink and Pantone marker. These were drawn on lazer print paper because the marker ink sits on the surface of the paper, instead of being dulled by absorbing into the paper.

Most of you are probably familiar with his work, but didn't even know you were looking at it! That's because he's done matt paintings for the past 17 years so seamlessly, you weren't even aware the scene you were looking at was a matt painting.

In other words, you are looking at the work of one of the best artists in the industry.

More than a matt painter, my good friend Paul Lasaine is also an accomplished designer. He was the production designer for Surf's Up; and has worked on many other feature length animated films. Paul was also the visual effects art director for the Lord of the Rings Trilogy!

Paul Lasaine’s film credits read like a cornicopia of visual effects films and Feature Animated films.

And now, ladies and gentlemen, he has started his own blog! Please welcome my friend, Paul Lasaine.

Here's a rough from Brother Bear.

When I got the assignment from Disney, they weren't sure I could draw bears! So, they purchased a small block of my freelance time to try me out. They were so excited about what I did for them; I stayed on the project for a year!

Initially, they would tell me what sort of animals they wanted me to draw for them, and I would give them a series of rough drawings using prisma pencil on newsprint paper.

The irony is that whenever I start on a project, I get known for doing that particular work. Hence, if I'm doing backgrounds, they forget that I can draw characters, and vice versa. Some project teams or producers still only remember me as the character-guy, while others still only think of me as being able to do backgrounds. That's why the Brother Bear crew wasn't sure I could draw animals to begin with, because they remembered the background vis/dev work on Mulan.

Here's another posting. You decide, is it a drawing from life, or from memory? Is it charcoal, or prismacolor?

Here's another posting for Sketchclub!

This is only a portion of the sketch, so please stop by and visit the Sketchclub site if you want to see the entire image.

That's right, this is not a figure drawing, but rather a memory drawing.

One of the things I routinely did in order to better assess my skills were memory drawings. Years ago, when I started drawing the figure, I would test myself to see how well I understood the anatomy. During the drawing session I would make a mental note to myself about a particular pose, and then -- the next day -- draw that pose from memory. This drawing you see is a memory drawing.

Doing this exercise was incredibly helpful because it allowed me to spot deficiencies in my work. If I had a problem drawing shoulders, feet, or hips, I could immediately spot the problem in my memory drawings. I would then compare the memory drawing with my original figure drawing from the night before in order to see how close I could get to the original. How well did I remember the pose.

Sometimes the poses I drew from memory were slightly different, but the information in my memory drawings had to work nonetheless. The memory drawings had to work in and of themselves, not just a copy.

One of the things that motivated me to start this exercise was noticing other artists that were really good at drawing the human figure when it was in front of them, but would literally fall apart when they had to draw a human figure from memory. I vowed that was not going to be me! Wherever I spotted a problem in my memory drawings, I would pull out my anatomy books and concentrate on that specific part of the anatomy. Doing this, my drawings improved rather quickly.

Here's another posting for Sketchclub!

Here's just a teaser snippet, so that you'll visit the site if you want to see the entire image.

Here's a page of three minute sketches.

I like to group my three minute sketches all together on the same page for several reasons. The first reason, I'm cheap! I can't stand the thought of using a full sheet of 18x24 paper for a 3 minute sketch.

The second reason was a happy discovery. As I grouped my sketches on the same page, I started to make quick on-the-spot choices about placement. So, not only was I working on my gestures, construction and anatomy, but also my composition skills. I don't have a good example of it in this drawing, but I also like to overlap my drawings, and sometimes with different colored media.

This was a five minute sketch, drawn with charcoal on newsprint. I Photoshopped the toned paper to keep it from being stark white, but the drawing is as I drew it.

Here's a bear design I did for Brother Bear. I was trying to thread the line between realism and caricature in an attempt to give the bear a personality we could relate to.

Marcos is one of the most talented people I've ever had the great fortune of working with. His skill and design sense for composition and drama are at the very best in the industry. I've never met his equal! Marcos has the style and confidence of the best European comic book artists, and the flair of a virtuoso...and he's a great guy to have around the studio.

Unfortunately for me, and even more unfortunate for Sony, Marcos is leaving Sony for a better deal at Dreamworks. I would like to wish my good friend lots of luck and continued success. YO...respeck!

Go to: Marcos Mateu

Ah, Little Dixie! This city was founded by Mormon pioneers, in the 1850s, as a cotton mission -- hence the nickname, Dixie.

We're sitting up on the red cliffs in Pioneer Park, overlooking St. George proper and the Mormon Temple. There are caverns that were used as homes by the settlers all over these rocks.

It was 107 degrees Fahrenheit, but not when we took this picture. We waited till the sun went down when we snapped this one, however it was probably still over 100 degrees!

When we lived in St. George I would take my daughter out to this park for a little climbing and picnic. Now, almost five years later, I brought her back up here for a little trip down memory lane. She was almost six when we left, but she still remembered things remarkably well.

The very next day we visited the Calico Ghost Town.

Hello everyone. I'm on vacation this week, but Drew Adams has posted a drawing I had done in his sketchbook over ten years ago. I thought I would go ahead and give him a link here. I also made my file a little smaller, so if you want a higher res file, you'll HAVE to go to his site.

Go to: Drew Adams

Here's a five minute figure drawing in charcoal.

Jed Henry had asked that I take some of my figure sketches out of my newsprint pads and let them see a little bit of the light of day.

Here are some character designs I did for Brother Bear.

The original assignment was to draw some prehistoric cavemen, but as the project developed the cavemen turned into Pre-Columbian Eskimo.

So, here are a father and son, preparing for some dramatic hunting occasion…but really it was an excuse to draw the wardrobe and show the directors what I had in mind in terms of clothing, jewelry and weapons.

Years ago, when I was working on Dinosaurs for Disney, I was asked to do some dinosaur designs. They had all the technical information and drawings, but what they needed was someone to draw the creatures with a sense of life and animation, without going into the realm of cartoon.

I drew out several roughs in order to work out my designs, mostly using ballpoint pen on newsprint.