The Art of Find­ing Dory

Ocea n view Pixar had to start again from scratch in vi­su­al­is­ing the Find­ing Nemo se­quel, as this beau­ti­fully put-to­gether book ex­plains

ImagineFX - - Inspiration Books -

You’d ex­pect an an­i­mated se­quel would be rel­a­tively easy to de­sign and pro­duce. You just have to copy what went be­fore, right?

Wrong. For Find­ing Dory, Pixar couldn’t just re­use the pre­vi­ous char­ac­ter and en­vi­ron­ment de­signs, ex­plains pro­duc­tion de­signer Steve Pilcher in his in­tro­duc­tion to this book. For one, 13 years of tech­no­log­i­cal ad­vances mean the orig­i­nal pieces no longer fit with the au­di­ence’s visual ex­pec­ta­tions. For an­other, the film- mak­ers didn’t just want to re­tread old ground, but aimed to ex­plore new artis­tic and nar­ra­tive pos­si­bil­i­ties.

This sets the scene for a de­tailed look into how the se­quel to Find­ing Nemo was vi­su­alised, along­side a cor­nu­copia of un­seen art, from scrap­pa­per sketches and early sto­ry­boards through to dig­i­tal paint­ings, pre-vis mod­els, 3D sculpts and fi­nal frames.

There’s a strong fo­cus through­out on world build­ing and en­vi­ron­ments, in­clud­ing in­sights such as how the curvi­lin­ear shape lan­guage of the reef world con­trasts with the rec­ti­lin­ear shape lan­guage of the hu­man world. While books like this can some­times skirt over such de­tails, here you re­ally feel Pixar is try­ing to share ev­ery­thing about its pro­duc­tion process.

But even if you’re not in­ter­ested in that stuff, this book is worth buy­ing just for the stun­ning art­work by the likes of Shelly Wan, Tim Evatt and Don Shank, all beau­ti­fully re­pro­duced across the book’s 176 pages.

Shelly Wan worked on cre­at­ing con­cepts for the co­ral reef in the film.

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