Paintings by Jeff Palm! The best paintings of the show although I also loved the Castle exteriors as much, see below. These two by Robert Harand! Nice architectural detail! My rough sketch of the castle entrance. This was done early on for the board artists to work from. Early painting sample. Was trying to figure out the warm/cool thing that Paul wanted. Another Robert Harand final from my rough. Another rough of the Transylvania Train Depot. This was the first bg rough I did. At that time I was thinking it would have some fall like foliage around it but it was moved to more of a winter alpine location. The final Lab painting. I still like to paint when I can although Jeff Palm and Bill Wray did most of the heavy lifting. Bill Wray painting!!! Another Bill Wray!!! A Shawn McKelvey spooky forest painting!! Animation is a team effort. When we work hard and do something cool of course we want to get recognized for it. I use this blog as a sort of portfolio but I want to highlight the process and the group effort that the team has put forth on this fun project. I did the rough sketches early on mostly for the board artists to work from but also to set a style direction to make sure the shots stay dynamic. If the roughs are done it helps the board guys and luckily they just dropped these shots right into the final. As I mentioned above Jeff Palm, Robert Harand, Shawn McKelvey and Bill Wray were an amazing team!!! Great work you guys!!!
If you think that creating backgrounds for Disney's 101 Dalmatians was a piece of cake compared to the preceding film Sleeping Beauty, think again. Sure, Eyvind Earl's renaissance styling is rich with sharp detail, but look at this layout from 101. Layout supervisors Don Griffith, Collin Campbell and Erni Nordli had their hands full, creating settings in accurate and finessed line drawings. It really was the layout department that took the brunt of the work to present meticulous backdrops for the animated characters. The background artists added simple washes of color, suggesting the overall mood of the scene in a sketchy way. It's my guess that the layout folks were doing overtime, while the background artists took long lunches. Below a screen grab from this gorgeous scene, just a truck in without characters.
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As a lover of animation, new and old, American and foreign, it has always been a dream and goal of mine to one day work in the industry in some capacity. In 2015, I was blessed to have that dream turn into a reality with one of the most fun projects I've worked on in my career: backgrounds for Nais
In 2004, I was hired at Cartoon Network to work on a new series in development, "Juniper Lee". This was a great opportunity for me to reunite with some old animation friends, Alan Bodner (Warner Bros Classics, Iron Giant), Frank Squilacci (Big Guy and Rusty), Steve Lewis (Tiny Toons, Animaniacs, WB Classics) to create the look of a new series from a blank page. To that date, the shows I had worked on at Cartoon Network were all well established visually (Powerpuff Girls, Dexter's Lab, Samurai Jack)... so I was anxious to try something new. I had a few interesting design issues to address with "Juniper Lee": first, the show took place in San Francisco, a challenging location to draw for tv with its elegant architecture and rolling hills. Second, the show starred characters of Chinese origin... I wanted to make sure this interesting aspect of design was NOT overlooked. Third, the main characters were "witches"... this was the most exciting and inspired part of the design challenge. I took these three ingredients (San Francisco Victorian architecture, Chinese design motifs and witchcraft) and tried to serve each visually. I really grew to like the design direction the show was going in. I had the rare chance on this show to really explore a few locations in complete detail. By the second season, I had won an Emmy for Background Design on "Juniper Lee" (the only one in the series). You can see a big influence of my prior work in these designs. Warner Bros classic cartoons (Maurice Noble), Dan Krall's art direction on "Powerpuff" and my own affection for bold shape and strong silhouettes were a big inspiration for me. This is a small cross section of the background designs and visual development for the series...
