Hey Tumblr, you helped make The Reward - Tales of Alerhtrion a possibility; now here’s your chance to a be a part of it!
On behalf of Sun Creature Studio I’m pleased to announce a Concept Art Summer Event! Get your artwork into The Reward - Tales of Alethrion - Presented by Sun Creature Studio.
Do you remember the close up portraits in the short film The Reward (bottom two images above)? We have a silly shot like this of Alethrion in the series as well. In this scene he is trying to seduce Amerath, a girl whom he just met.
We have a downloadable PSD file with everything you need to work on the shot.
In the file we have the correct frame size, a blurred out picture of the color script (the base colors you need to use because of the fact that the portrait has to fit with the other scenes). We have blurred the color script picture out so you don’t limit your imagination. We also attached references of the style and the storyboard panel.
If you are up for the challenge, send your finished drawing to Suncreaturestudio@gmail.com.The most fitting, best and most hilarious portrait of Alethrion gets into the film!
DEADLINE IS THE 27th OF JULY! FEEL FREE TO SHARE THE CHALLENGE!
Long before Pixar and today’s CGI special effects extravaganzas, early animators of the silent era experimented and introduced new techniques into filmmaking. Mark Quigley gives us a tour of the silent animation collection at UCLA’s Film & Television Archive - one of the few places in the world that capture this rich history of early animation.
Rough character model sheets from Disney’s The Emperor’s New Groove. Artwork by Sandro Cluezo.
These model sheets feature a character named Mata, who at one point in the script was developed as a love interest for Kuzco. She was voiced by That 70’s Show’s actress Laura Prepon, however, her scenes were later cut from the film.
Damn, I really feel like I’ve been posting a lot of obituaries on this blog lately.
H.R. Giger didn’t have anything to do with the world of animation; but my love of it developed as a student of film and illustration first – both to which he’s very inspirational.
Through out his life Giger suffered from night terrors, and as a way of art therapy, he often kept a sketchbook next to his bed to document his tormentors. Much of the creature designs used in the Alien film series first came to be in these sketchbooks. It was his painting Necronom IV (second image pictured above), which was heavily influenced by his own nightmares, that initially inspired the look and feel of Ridley Scott’s Alien. As part of the design team on Alien, Giger won the 1980 Academy Award for Best Achievement in Visual Effects.
As an Illustrator, Giger’s work was heavily inspired by artists Salvador Dali, Ernst Fuchs, and quite possibly H.P Lovecraft. Giger described his work as being “Biomechanical.” His work was often filled with fetishistic sexual imagery, it was cold and dark, and explored the interconnected relationship between man and machine.
I can remember the first time seeing Giger’s work. It terrified me. It was complex, it was dark, it felt demonic… and it possessed me. I couldn’t get enough of it. I run an animation blog because I love the world and history of animation; but first and foremost I’m an Illustrator – and Giger’s work always has and will continue to influence me as an artist.
Yesterday, I posted about the publication of More Cute Stories, Volume 4: 1964/65 New York World’s Fair, an audio memoir of Disney Imagineer Rolly Crump. I’ve been listening to it today, and enjoying it immensely. I wrote to Bamboo Forest, the publishers, and secured permission to share a couple of MP3s from the collection with you.
The first clip is Crump’s hilarious tale of the trip to NYC on the private Disney plane to set up the World’s Fair pavilions. The Disney plane was dry, and when they stopped to refuel in Texas, an enterprising art director ran out and secured vodka and gin for the remainder of the journey, which apparently turned quite hilarious.
But the best is in part two, in which Crump describes his working relationship with the legendary Mary Blair, who came out of retirement to work on the Small World pavilion for the Fair. I love Blair’s work — everything from her Golden Books to her surreal, hyper-modernist version of Alice in Wonderland, but I knew nearly nothing about her as a person. Crump’s lively narration brings Blair into focus as a charming polymath who designed her own clothes, drank martinis for lunch, and squired a wide-eyed kid from California around Manhattan with the self-assurance of a brilliant artist at the end of a long and storied career.
Many thanks again to Jeff and Bamboo Forest for permission to share these.
Images from the Almost There sequence in Disney’s The Princess and the Frog. The Almost There animated sequence was inspired by and styled after the artwork of Aaron Douglas (the last three images are works of his). Douglas was one of the major figures of the Harlem Renaissance.