Monday, March 23, 2009

Spring Break Sketches

A variety of sketches done during the break - from the local life drawing workshop and from a trip out to St. Augustine, where we visited our friends, the Morgans. Rich just started showing at the Worley Faver Gallery on Aviles Street. It's great that Rich is getting to show his work there as it's a very beautiful and relaxing gallery space. The pochade sketches are from the Fort Matanzas National Monument park. It was good to get out, even if it was scorchingly hot at the time - would've done more, but only had storage for 2 paintings and I forgot my sketchbook. The pochade box is from Open Box M - they're very nice folks over there and even accomodated my request for a slight tweak to their original palm box design. I think they currently offer various designs as options. Kind of pricey, but great products.

Some work from the Disney days

A Christmas card made during Lilo and Stitch: It started out as being just a 'gag' drawing, but I ended up rendering it more than intended. This was done in markers, colored pencil, mechanical pencil, plus a little Photoshop color tweaking. It might've been an impetus for the closing scene; I'm not sure. In any case, one of the joys of working in a studio is getting to think of ways to put the characters in situations out of their normal context.

Clean-ups from Mulan and Lilo and Stitch: The medium shot of Mulan was one of the first clean-ups I ever did. It took forever to actually get it right and in the end the scene was cut. Lilo and Stitch was probably the most enjoyable project to work on in terms of drawing the characters. I had the double pleasure of being able to work on animation drawings by Bolhem Bouchiba and St├ęphane Sainte-Foi as I temporarily worked on Jumba before going to the Nani unit. Both are tremendously talented animators and draftsmen. From what I understand, Bolhem even did layout prior to becoming a character animator.

A bear sculpture made prior to Brother Bear.

Pochade box oil sketches: These were made during lunchbreaks. Toward the last days of the studio, lunches were more strictly held to be "an hour," so I had to use a timer on my watch to avoid spending too much time on a piece. It typically took about 30 minutes of traveling and setup/packing-up time and another 30 minutes of actual painting time.