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From 'Guillermo del Toro's Pinocchio' to Wolves in 'Bad Guys,' Animated Feature Contenders Talk Character Design

Pinocchio of Guillermo del Toro ) (Netflix) In the words of Guillermo del Toro, whose stop-motion character of the same name The proportions are lanky and boyish. “They love this very lovely random rhythm of walking and running. Amidst his deceptively simple design is a very complex one, keeping those few elements alive and atop logs that simulate hair and twigs, The nails on his back are so expressive and unique, it feels almost elemental.” Director Mark Gustafson noted that in the story, he is sculpted by a drunken Geppetto, making Pinocchio “in some The aspect is very raw, unfinished, naked and exposed. That’s the world we need him to take him out into. He can’t hide anything. That’s the nature of innocence. You wear it all on the outside, and that’s the thing What the character does. He hides nothing.”

BAD GUY(DreamWorks Animation/Universal)

Mister Wolf appearance and The character Guys in The Bad, based on Aaron Blabey’s series of children’s books, director Pierre Perifel wanted to draw from French artists such as Franquin, Christophe Blain or Benjamin Renner and Japanese Anime , especially manga artist Akira Toriyama ( Dragon Ball ). “The idea was to constantly combine complexity and silliness in the visual effects,” he said. “Mr. Wolf, for example, has the swagger of Spike Spiegel ( Cowboy Bebop ) and the charming silliness of Hayao Miyazaki’s Lupin. Lean and long with a desperate attitude And casual wit.” The Bad Guys Character Design “Bad Guys” character design Provided by DreamWorks Animation Apollo 10 1/2: A Space Age Childhood

Apollo01 1/2: A Space Age Childhood (Netflix)

Apollo 01 1/2 orbiting the Apollo 06 mission to the moon, as young Stan sees it. Director Richard Linklater wanted Stan to look both realistic and surprising. “We love the space age’ 12s, with pops of color, different textures, and film stocks. The great animated films are an influence, but so are the Saturday morning cartoons of the era. Our characters start with reference shows, but we still start with an economy design our characters in the same way. …We always want to evoke the most emotion with the least amount of drawing.”

The Bad Guys Character Design Apollo 10 1/2: A Space Age Childhood ‘Apollo01 1/2: Space Age Childhood’ Supplied by SXSWApollo 10 1/2: A Space Age Childhood Apollo 10 1/2: A Space Age Childhood

Light Years(Disney/Pixar)

“Buzz is one of the most recognizable pop culture icons of the modern Translated into the human world, the proportions can look wildly exaggerated,” director Angus MacLane said of the challenges in designing the characters for the spinoff. “We had to find a way to tweak the original design to make it more realistic, but still have Buzz Lightyear’s recognizability.” He said that focused on his chin. “Get Buzz’s jaw right and out. So that’s what we do.” The Bad Guys Character Design Apollo 10 1/2: A Space Age Childhood ‘Light Years’ Courtesy of Disney/Pixar Apollo 10 1/2: A Space Age Childhood

My Father’s Dragon (Cartoon Saloon/Netflix)

Nora director Twomey said she and Ireland’s Cartoon Saloon gave Elmer – the young protagonist of her dragon work – a simple look. “At the end of the day, he’s a string of lines that line the face and body of a child,” she says of the lead character in the film adaptation of the children’s book of the same name. “His design has the minimum number of lines to carry the core performance. Every line costs an animator’s time as they draw 11 Images per second, average 11 Weekly drawing. But an economy like this can be liberating. Scott McLeod ( Scott McCloud, in his bookUnderstanding Comics, “When we abstract an image, we don’t eliminate too many details, we focus on specific details. “As the child abstracts, the more he echoes you and me, his eyes become our eyes, and his struggles become our eyes.”

MY FATHER'S DRAGONThe Bad Guys Character Design ‘My father’s The Deacon’ Courtesy of Netflix Animation Story Buzz Lightyear



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