The Art of Toy Story 3 (2010, Chronicle Books) by Unknown

The Art of Toy Story 3 (2010, Chronicle Books) by Unknown

Author:Unknown
Format: epub


“Andy's room was kind of everyone's fantasy childhood. We've gotten better at textures and details, but if we were successful in one area in particular, it was capturing the essence of that Midwestern, all-American, secondhand feeling in the colors and textures and basic shapes of the furniture.” —Ralph Eggleston, production designer, Toy Story any image has become an emblem of the Toy Story movies—and of the work of the Pixar studio—it's Andy's room. The stylized furniture and sky-blue wallpaper, decked out with clouds in the first film and stars in the second, are recognized around the world, ‘The images of Andy's house may give the impression ofa warm, loving home, but the artists knew it was badly in need of upgrades for the new film. “We discovered that if you went down the stairway in the model of Andy’s house from Toy Story 2, itjust stops and you'd fall into an abyss, It would be an extremely dangerous house to live in,” chuckles production designer Bob Pauley. “Basically, we only build what we're going to see, plusa little bit more, because you want to be able to move the camera abit.” For Andy’s room in Toy Story 3, the artists were eager to take advantage of new technologies and faster computers in order to make everything in the room look better than it had previously. But they also knew they had to preserve the shapes and colors that made it a familiar, beloved place. Sets shading lead Chris Bernardi explains, “The challenge for us in Andy’s room was that it’s such a known place. There were things we wanted to do with the floor, and things we wanted to do with the bed. But how do we add the detail we want without it looking like a different bed?” Belinda Van Valkenburg, shading art director, says, “Andy's bed was iconic in shape—really pushed ina cartoony way. But the texture was just stripes of wood grain that were burling all over the place. We kept a little bit of that and then added two or three levels of detail, like aging and alittle grain, so if you get close up, you don’t just get these big abstract stripes.” “We did little things that we didn’t do back then,” agrees Bernardi, “The subtle modulations of the grain, and the way the grain accepted the wear differently— we wore off little veins in places that break up the reflection in a more sophisticated way.” The artists also had to accommodate a change that was far more profound than wear on the furniture: Andy Above: Color script, Dice Tsutsumi, Distal, 2007 Previous soxead: Glenn Kim, Digital, 2007 has grown up. The exuberant little boy of the first two films has graduated from high school and is preparing to goto college. The crayon drawings of Buzz and Woody were put away long ago. It’s still Andy’s room, but it, reflects the changes that Andy has undergone over the last ten years. “We tried to find out more about Andy,” says Pauley.



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