At the library I found an excellent art book on the production of Disney’s Pocahontas movie. I’ve always been particularly impressed with the great art behind that movie.
A lot of the artwork I like in this book I actually can’t find online, so I’ll have to scan them sometime. Until then I’ll share Glen Keane’s great storyboards for the movie. We know Keane mostly as an animator but he’s also a pretty great storyman too. You can feel his creamy bold and dramatic charcoal lines here better than anywhere else.
Apparently his first draft of the scene where Jon Smith and Pocahontas first meet was so fantastic that it was left exactly intact in the final version of the film. That’s pretty impressive, considering that writing and storyboarding often takes years with hundreds of revisions. Unfortunately, these images aren’t showing a particular sequence from the movie, but I think you can piece together where they’re from if you’ve seen Pocahontas recently.
Note : No spoiler - I went into this and added Yokai’s mask to cover up his identity if you haven’t seen the film.
These are my thumbnails before I boarded the sequence. Maybe one day I’ll try and post my boards.
We had an editorial meeting on this sequence and it originally didn’t have Baymax pursuing Yokai. It went right away to the team jumping in to fight off Baymax and Yokai escaping but John Lasseter challenged us to push it more and make Baymax feel like a serious and scary threat.
This is one of those moments where it has to get done insanely quickly and a team comes together. We discussed it in editorial - development was done in layout and animation and then I jumped in and storyboarded the whole thing over a weekend based on the development. Layout reworked it and then Zach Parrish and his team did a beautiful job and brought it to life. Patrick Osborne had just finished Feast and he jumped in to help out animate too. What makes this sequence really AMAZING is the decision by Chris Williams, Don Hall, and composer Henry Jackman to drop out all the sound and let the score carry it. It’s incredible and as hard as it is for me to watch it’s one of the more impactful sequences in the film.
It’s an amazing and extremely troubling sequence because here’s our character that we’ve developed and love so much and in the blink of an eye he’s turned into a monster. It broke my heart boarding it which is why I knew it was right for the film. Hiro had violated not only Baymax’s protocol but my love for him as well. A very intense moment.
Atomic Puppet on Disney XD….. in 15 minutes!!! Here’s a few of my board panels from John McKinnon and I’s first script, ‘Survival of the Feltist’- making it’s American debut today! Get your eyeballs on Disney XD- HURRRYYY!
In addition to animating Silver in Treasure Planet, Glen Keane did some beautiful storyboards. Here’s Silver spinning stories for the crew below deck as Jim Hawkins looks on. Although Jim is skeptical of this new character, he can’t help but be drawn into Silvers’ big personality.
I know you’ve been seeing some awesome content come from my friend @helthehatter for the crossover AU, and PLEASE, READ ALL THEY HAVE BECAUSE IT’S AWESOME ;0; (AND @judylavernehopps has some really well drawn pics for the AU as well *0* Please see her work!!)
But my friend and I met up today and we’re putting most of the basic story together as of now :D SO BE PREPARED. THIS IS…MAYBE THE BIGGEST AU WE’RE GONNA THROW AT YOU >:D We’ll have a proper title once the first chapter is posted, and it will go through a few editors besides my friend and I.
The first chapter is coming real soon, hope you all are excited ^o^
Hey art guys, here’s a tip: Reverse storyboarding.
Watch a movie that you really like the art or composition of, and whenever the camera angle, viewpoint, or characters actions/interactions change noticeably, pause the movie and draw a little sketch of what you see. It doesn’t have to be gorgeous. This is just for you. Get down the layout of the composition, the placement and gestures of characters, or the lighting or color that is used to make that particular moment in time express that particular moment in the story.
You don’t have to pay anyone to teach you to do this. You are paying yourself forward. Your future art self will thank you for taking the time now to study masterfully created compositions, gestures, light/shadow, and settings/scenery. Think of how much your own compositions, gestures, use of light and shadow, and settings and scenery will improve!