The Art of Cloudy with a Chance of Meat­balls 2

Go be­hind the scenes on the joy­ous an­i­ma­tion fea­ture.

ImagineFX - - In Depth Inject Humour -

Au­thor Tracey Miller-Zarneke Pub­lisher Ti­tan Books Price £30 Web www.ti­tan­books.com Avail­able Now

The orig­i­nal Cloudy with a Chance of Meat­balls was a riot. Huge fun. And it looked bril­liant, too. Sublime char­ac­ter de­sign, quirky per­son­al­i­ties played out through ex­quis­ite de­tail and a great over­all look. The se­quel looks just as fun, with the lead char­ac­ter Flint try­ing to stop his in­ven­tion – The FLDSMDFR – cre­at­ing ‘food­i­mals’ (an­i­mal and food hy­brids) that threaten to de­stroy the world. Any­how, there’ll be noth­ing to spoil your ap­petite for the film here. What we will share with you is the beauty of this book.

The tome is split into two main chap­ters: char­ac­ter de­sign and pro­duc­tion de­sign. In the first chap­ter we’re given an in­tro­duc­tion to the main char­ac­ters in the movie – start­ing of course, with Flint. This gives the reader some in­ter­est­ing back­ground to the de­sign de­ci­sions be­hind them, and is backed up with gor­geous ren­ders, and a mix­ture of sto­ry­boards and in­ven­tion de­signs (in Flint’s case, any­how).

There’s some ex­cel­lent work by An­dre Me­d­ina, with his – deep breath – Forkenknifen­spoo­ni­a­tor piece be­ing a top pick. Steve (Flint’s pet mon­key) and Earl Dev­ereaux (voiced by Mr T no less) are char­ac­ter de­signs to look out for. We also adore the posters of Ch­ester, who’s the CEO of Live Corp.

This chap­ter con­cludes by pre­sent­ing some hi­lar­i­ous early sketches of Barb – the orang­utan with a hu­man brain. The early draw­ings of Live Corp em­ploy­ees are a mas­ter­class in gen­er­at­ing many char­ac­ters with dif­fer­ent yet sim­i­lar looks.

When you be­gin flick­ing through the pro­duc­tion de­sign chap­ter you find some real gems. Our favourites by far are the in­ge­nious de­signs for Water­melo­phant, Shrim­panzees and Hip­po­to­ta­mus – the lat­ter hav­ing a blob of melted but­ter in its mouth, in a sketch by Craig Kell­man. Amaz­ing. Barry the straw­berry is also pretty cool. Of course though, in the pro­duc­tion de­sign chap­ter you’ll also find de­li­cious draw­ings of sump­tu­ous worlds. From Pickle Vil­lage to Break­fast Bog, early and worked-up en­vi­ron­men­tal sketches give you a real taste for the movie. Dy­namic colour keys by Bran­don Jef­fords are par­tic­u­larly in­ter­est­ing.

In the fore­word, Sony Pic­tures Dig­i­tal Pro­duc­tion pres­i­dent talks of the “un­de­ni­able charm, silly hu­mour and eye-pop­ping im­agery” of the films and the book cap­tures that per­fectly. As if we haven’t stuffed enough food puns into this re­view, go buy this book if you’re a fan of pro­duc­tion art. It’ll cer­tainly sat­isfy your ap­petite for quite a while. In­deed, it’s ab­so­lutely de­li­cious.

The vis­ual de­vel­op­ment team con­sciously chose whimsy over physics to try and cap­ture a sense of dream­like ad­ven­ture.

To jalapeño and back: Flint’s lab ex­te­rior colour key by artist and an­i­ma­tor Seonna Hong.

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