|| Artist Research – Marc Davis ||

Marc Fraser Davis was a prominent artist and animator for Walt Disney Studios. He was one of Disney’s Nine Old Men, the famed core animators of Walt Disney’s animation studio.

Some of the animated characters Davis mainly designed and animated are Thumper and Flower from Bambi (1942), Brer Rabbit from Song of the South (1946), the title character of Cinderella(1950), Alice of Alice in Wonderland (1951), Tinker Bell in Peter Pan(1953), Aurora and Maleficent in Sleeping Beauty (1959), and Cruella De Vil in 101 Dalmatians (1961).

Disney Wikia (2014) Marc Davis. Available at: http://disney.wikia.com/wiki/Marc_Davis (Accessed: 27 January 2016).


The above images are the concept designs created by Marc Davis; these are for the character of Cruella de Vil. As they were just the concept drawings, they lack fine detail, that would have been added later on when they get closer to finalising the idea, I like how the art looks. The designs are rough and sketchy, as they should be, considering they are part of the earliest stages of the film, and the colours are very limited; there is no extra detail in the coat or her face, such as shading and depth, it is quite a flat drawing, but when creating concept art, the more important factor is to be able to pass across the idea that is trying to be formed.


Similar to the Cruella de Vil, above you ca see the illustrations he created for Cinderella, again in a style close to the other ones, the drawings, although small and very rough, portray enough information to let someone know exactly what is happening in it. The character designs for this, I’m not sure the purpose of these drawings, but it could be anything from basic character design to movement exploration; for example movement in her clothes or the items of cloth that are on screen.



The above is character design for the skunk, Flower, from Bambi, a look at the actual character and the different aspects of it, such as hand movements and close ups of the eyes, nose and tail movement. These are a lot quicker looking than the above three pieces of artwork, rough outlines and sketches to get initial ideas of the character out.


Proposal Discussion

What do you need to consider when writing your Assignment Proposal?
Your chosen subject/theme – eg mine is portraiture.
Who your audience is
Such as, setting yourself attainable targets.
My theme is on body modification
SMART targets
Project Managing
Stages of managing a project –
initial sketches
research similar artists
research the industry
Consider competition
try out their methods/techniques
The clients important.
The client
so you can cater to what they want
and their audience
their brand
The illustrator – does the brief fit in with your style of illustration and your skill level
Customer if the brief is for a product being sold. They are the ones buying the product
Your future clients also see your present work.
Know your market

|| Artist Research – Daniel López Muñoz ||

Daniel López Muñoz worked on the concept art for Ice Age 2; the image below shows one of his creations for the movie, the drawing style is similar to that of the previous artist mentioned, Chris Sasaki, in terms of the full size artwork, the sketchy style where you can still see the different strokes of the pencil or the brush marks. IA21.0.jpg

Below you can also see another style that Daniel works in and its a different type of concept art, that is more technical and different to the art that actually sets the scene. This type of art breaks down different objects within the movie that they want to use and shows how they work, similar to technical car drawings. The movie he worked on was Robots (2005), the art shows the different components they will use to make up the individual buildings and smaller parts for certain machinery. The art style is similar here as it is in the full art piece above, however they appear more refined and neater because they are individual drawings as opposed to a full piece of art.


Below is another piece of concept art created by Daniel López Muñoz; this was for the movie Up and is similar to the Ice Age artwork above.


|| Artist Research – Chris Sasaki ||

CHRIS SASAKI is a character designer and illustrator living in Oakland, California. He works at Pixar Animation Studios and has designed characters for Monsters University (2013) and Inside Out (2015). Most recently, he production designed the original short film, Sanjay’s Super Team (2015). His past clients include LAIKA Entertainment, Blue Sky Studios, Disney Television Animation, DreamWorks, Red Cap Greeting Cards, and Jim Henson Studios. His work has been featured at Gallery Nucleus, on Cartoon Brew, New York Times, and in the Society of Illustrators yearly annual. He also occasionally teaches at the Animation Collaborative.

Sasaki, C. (no date) About + contact. Available at: http://www.csasaki.com/about/ (Accessed: 20 January 2016)


Sasaki, C. (no date) Film. Available at: http://www.csasaki.com/film/ (Accessed: 20 January 2016).

The concept artwork above is for two movies, the top two are ideas for character designs for Monsters University  (2013) and the bottom one is a design idea for a short film called Sanjay’s Super Team (2015). I like the style that he generally works in when creating his artwork; the sketchy, rough look to it, not only gives it an obvious concept art look – something that has been drawn up fairly quickly and not a lot of detail has bee added to it, rather solid areas of colour that make up detailed enough images that look complete enough to give detail information for the benefit of the people deciding which designs to pick.

|| Proposal 1st Draft – Final Major Project ||

For this project I would like to explore the concept art created for children’s movies. At this early stage of the project, I would also like to look at children’s book illustrations, which could go hand in hand with the concept art, as the art style I could use to create the concept art, can also be used to illustrate a children’s book. Although I am thinking about both of these pathways, I will concentrate more on the concept art more heavily than the children’s book art to begin with; the option to move to children’s book art is there as another idea to fall back on, should the concept art idea not work out.


“The main goal of concept art is to convey a visual representation of a design, idea, and/or mood for use in films, video games, animation, or comic books before it is put into the final product. In other words, it aims to convey the overall design vision rather than specify everything in exact terms right at the start.” (CreativeBloq)

Concept art can include anything from scene shot ideas to give an idea of the mood to detailed mechanical drawings showing how objects will work.


The first thing I will do to kickstart this project is to do in depth research into the existing concept art for children’s movies, as well as the artists behind the art created. Another beneficial piece of research would be to also look at the work created by the artists on different projects they have worked on, rather than just the concept art.

After doing the initial research I will go on to decide on a movie I would like to work on; I would work on the movie as if it is going to be released in the future as a new movie and I have been asked to work on the new concept art. Depending on the movie I choose to look at, the characters would already have been created so that means I will not have to create new characters, unless I choose to do so.

I will move on to looking at different techniques I can use to create the concept art; for example working traditionally with paint and pencils to working digitally on Photoshop and Illustrator. I will be presenting my work in a sketchbook, similarly to how conceptual artwork would be presented in certain cases, and printed pieces of larger artwork.


|| Hierarchy ||

Normally in the illustration field, there is a hierarchy of people you speak to while you are working; most of the time this hierarchy will change depending on how you decide to go about working through the industry.

As an illustrator you can expect to work with any one from another illustrator, to a graphic designer, to the client, even an art director. The hierarchy is such that can be arranged neatly into a series of flow charts.

Client – Agent – Illustrator – Graphic Designer

In the above instance, the agent could possibly work with the graphic designer as well as the illustrator.

Agency – Illustrator – Graphic Designer

Here the graphic designer could be working alongside the illustrator.

Art Director – Illustrator

When the art director directly approaches the artist for work.

Agency – Art Director – Illustrator – Graphic Designer

In this instance, the art director could contact both the graphic designer or illustrator, and get the two to work together to create a piece, or only contact one.

Client – Art Director – Illustrator – Graphic Designer

The client in this situation could be the leader of a company deciding they want to get some artwork done for something within said company and so they would talk to the designated Art Director who would go and hire the artist who would go on to complete the work.

|| Final Evaluation ||

During this first semester I have learned many things about being a professional illustrator working in the industry. This information came to me in a few ways during this time, through illustrators who are already working and figuring out how I work as an individual and learning what I am good and what I need to improve on. The first thing we did this year was to create a series of illustrations based on different senses as opposed to looking at something and drawing from life. This was an interesting task as it forced me to think about how the objects felt or smelt and then create corresponding marks, this was difficult for some objects, however it not only gave a a wider Dictionary of patterns but also taught me the difference between artwork that has been thought about and artwork that has been done freely without a plan. Widening my mark making skills means that I now have a whole library of different marks that I can turn to use if I feel like I am lacking in that section when creating my artwork both for the rest of the duration of the course and after I have left and am creating artwork on my own.
The next task was to then apply what we had learned during the mark making classes and create a packing for a shower gel, simply using mark making to portray how the shower gel will make the user feel. One thing that assisted with this task was going over the marks that we made as a class and discussing what emotion was related to each mark, for example a rough, scratchy mark gave off angry vibes, whereas a soft, curved line made one feel calm and at ease with the art. The brand I chose to repackage was the Soap and Glory brand, and I looked at the specific Clean On Me product, the best way to describe how this smells is that it is soft and floral. My final piece for this, I ended up using long curved marks and short spiky marks, I think this translates the product well, while still looking professional enough to be sold as an actual product. What would have improved this project would be if I had actually printed a label off and stuck it on the actual product to see what it would look like in real life rather than using Photoshop to see this effect.


We then went on to choose our own topic to word under, whether we chose household, cosmetic or food packaging to work for. I chose to look at a food. For this we had to chose whether we wanted to re brand the product or create a new product from scratch; I wanted to re brand an existing product – Tequila. The first thing I did for this was to do some initial research into existing tequila brands, this would narrow down the question of if I wanted to look at an already existing brand or create my own. The one I chose to look at first was Suerte Tequila; this would be my trial creation. I created a quick design for this by drawing inspiration from the idea that paisley was what I wanted to look at rather than something as generic as sugar skulls or talavera tiles. I like how my final products turned out, I decided to go with two one with the optical illusion logo and one with the circular emblem-like logo. I think they could both be used in this situation for different types of the same tequila; for example the silver tequila could be the snake logo and the aged one could use the emblem. Or if this was going to a real art-director who had hired me, they would then choose the final but I have given them many different options to choose from.

That is another important thing I learnt – give the client options. These kinds of facts were also passed on to me from the visiting professional illustrators, Dave Eaton and Alexandra Turner. They came in and gave us a lot of information about what we should expect in the working world as an illustrator; this was extremely helpful as it, really gave me an idea of what to expect from clients and how I should improve my approach to the way I work at the moment. Key notes I took from what they said when they came was to really brush up on my professional skills, such as hand drawing and computer software use; while these skills such as the use of illustrator, may not come in handy at the moment, they will later on when I enter the working world. Another fact was to create thumbnails before starting any big piece of work; this was a point emphasised by both Dave and Alexandra. This is one helpful point because I know that this is something emphasised in study, but the fact it was emphasised by people who have worked in the industry and already have experience working on larger jobs.

I am very happy with my final tequila bottle pieces because I think all the connotations that have gone into the final designs, such as the snakes and the aspects of danger, that may not be evident at first glance, I think the overall design is quite clever and while it may need to be cleaned up, the actual design itself is good. I had my doubts while doing some of these designs and felt like changing quite a lot of times, but I pursued the optical illusion idea and got to the idea I ended up with and if the bottles were on a shelf in a store, I think they would stand out from the rest – and taking into consideration the fact that customers do tend to buy products that look good sometimes as opposed to what is actually good, I think this product would be able to sell pretty well.