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k downs more tech heavy rides have a tendency to shut down when their complicated equipment stops working not so with the roger rabbit ride activate to view larger image the portable hole at disneyland more lost disney art brush pen ink and watercolor 1994 i know the title is a little click baity technically this work is not lost i m sure the originals are buried somewhere in the vaults at imagineering but these drawings haven t been seen in nearly 30 years it was before the digital age so hard copies of these drawings remained in my flat file tucked away inside a manilla folder mis labelled tokyo roughs i found them by chance while going through my files looking for theme park work for my website www vignalistudio com the big idea legendary imagineer eddie sotto had come up with an idea called pirate s island where we were going to revamp tom sawyer island tsi at disneyland and turn it into a pirate island this was back in 1994 way before the pirates of the caribbean movies so the idea was truly ahead of its time at the center eddie imagined there would be a large cavern where the pirates had brought their booty and in there was built a bar where guests could dine eddie had asked me to come up with some ideas for things to put in the bar i sketched out several things and that s when i thought of these lovely ship s figureheads i worked them out in color so we could add this to our pitch i even remember i had roughed out the entire bar and was planning to do one of those large drawings of the interior unfortunately soon afterwards the project was scrapped eddie s pirate s island was a great idea that was short lived but the big idea was so strong that when the pirates of the caribbean movie came out this idea resurfaced and tsi was turned into pirate s lair working with eddie was one of the highlights at imagineering his imagination and energy was infectious and his ability to ideate with a pen really did teach me the importance of moving quickly to visualize the entire project the lost disney art part 2 did you know that part of the roger rabbit ride queue line and pre show at disneyland was going to be outdoors yep it was the 1990s and i was one of the four principal designers of disneyland s toontown and the lead designer for the roger rabbit ride i found hard copies of these drawings in an envelope inside my flat file while looking for images to put in my website www vignalistudio com the assignment was tricky i had to figure out how to entertain the people in line without audio animatronics that move because all that circuitry can t be exposed to the weather or temperature changes everything needed to be a static visual gag so i created a series of drawings that worked as funny gags but would entertain the guests by allowing them to use their imagination to piece together the happenings like a detective so i designed this queue line to look like an old 1940s construction site we needed to create a queue line but rather than just have a standard queue line i found a way to thematically use the water tower s pipes to get crazy and create the various stanchions that separate the guests in order to weave them around what if the stanchions themselves are part of the theme and guests were in it eventually the queue line was moved indoors and we have the queue that exists today so naturally none of these ideas were built and i might add none of these drawings have seen the light in 30 years enjoy the lost art of disneyland s toontown in 1990 i was working at walt disney imagineering as a show designer and i had the unique opportunity to work on the muppet movie ride with jim henson when jim passed away suddenly the entire project muppet studios aka muppet movie land was shut down my office mate at the time legendary imagineer eric robison really liked this drawing so i gave it to him all these many years later he kindly mailed it back to me i took the prismacolor drawing and placed it on my drawing desk a 33 year round trip it s prismacolor on velum mounted on illustration board the great muppet movie ride that never was when working in animation hands are some of the trickiest things to get right in part because they have to look great and they have to move it doesn t matter if it s 2d or cg animation getting the hands right is imperative so i put a document together for the modeling department when we were working on a cg animation short for garena s free fire project alvaro awakened having worked as a figure drawing instructor comes in handy to understand the anatomy but not the design it s important to understand that designers are not anatomists but rather need to create images that are pleasing to the eye have a sense of design and rhythm and in the cg animation world are functional understanding the practical aesthetics the functional aspects of anatomy and the design style consistency of the characters are more important than the internal anatomical details it may seem funny coming from someone that has studied and taught anatomy for decades but that doesn t mean some of that knowledge isn t applicable it simply means that knowledge isn t what the audience sees on the screen getting caught up in the surface details in the wrinkles of the knuckles can be just as problematic as getting caught up in knuckle condyles of the bones but getting the shape of the stretching and bunching right and rigging the movement will go a long way hands on i ve just added another into the design lab on one of my favorite illustrators n c wyeth newell convers wyeth also known as n c wyeth born in 1882 died in 1945 at the age of 63 he was an american painter and one of the greatest american illustrators of the 20th century throughout his career n c wyeth created more than 3 000 paintings and illustrated 112 books it was incredible to dive into his work and discover so many storytelling tips and visual tools in one painting wyeth is giving the audience three panels that tell a story we read his illustration like a comic book without ever realizing it just 5 bucks on gumroad learning has never been so affordable into the design lab n c wyeth i ll never forget the first time i saw heinrich kley s artwork the exhilaration i felt was like life itself was being decoded before my eyes i bought his books and poured over them copying them in the hopes that in my blind attempt to imitate the work simply by osmosis i would begin to understand sadly that was not the case and kley s work continued to remain a mystery to me so i made copies of heinrich kley s artwork and pinned them over my desk i kept these drawings as a reminder of what it meant to be in charge of one s own craft for decades these drawing were like a lamp of light illuminating my path however it was only decades later that i began to unravel the mysteries of heinrich kley s work and now i have the pleasure of sharing with you my knowledge and understanding of this beautiful artwork so join me gumroad into the design lab heinrich kley https vignalistudio gumroad com l qszjmz i give a short bio of heinrich kley and then take an analytical look at the drawings of heinrich kley and finally reveal the mystery behind these enigmatic drawings we ll look at the gesture balance silhouette overlap structure animation and echo the art of heinrich kley i ve put together a series called into the design lab it s an artist retrospective an analysis and a design dissection that reveals the compositional tricks and storytelling tips by successful artists in this five part series i m dissecting the works of the award winning comic book artist and science fiction illustrator frank frazetta have you ever wondered how frank frazetta was able to create such compelling images why does his work looks different than everyone else s i ve gone ahead and broken down the lesson into five videos part one a quick biography for those that aren t familiar with his work and an in depth look at the transition from ink to paint how the directional strokes in frazetta s comic book inking influenced his painterly illustration style and his compositions this is fundamental to understanding his work part two i ll break down and analyze frazetta s use of layers depth color framing compositional elements even how his comic book experience in color taught him the importance of attention and shocking the audience part three we ll study frazetta s roughs this was the blueprint for his illustrations and how he stuck to the plan all the way through the final this eye opening presentation will change the way you think about this often neglected stage of planning you ll see a direct translation from rough drawing to final and see how frank s conceptualization never changes part four we ll study frazetta s compositions by breaking them down into silhouettes study their structural arrangement and design the importance of overlap value and one of the most unique and powerful storytelling devices frazetta s use of animation as a means of storytelling part five we complete this series with a final study on frank frazetta s use of dynamic compositions dynamic perspective and overlap this is the signature aspect of frazetta s work he drags us into his compositions like no one else we ll also look at other complex staging devices using shape to tell a more powerful story and wrap it all up with retrospective look at the frazetta legacy each lesson is priced at only 5 i ve priced this low so that everyone across the world would have access to this knowledge i want to make a difference in your life i want to make a difference in this world and i want to make the world a more beautiful place with your art join me on gumroad https vignalistudio gumroad com l pvzmi next itdl episode will be on the works of heinrich kley into the design lab frank frazetta 1 thru 5 great artists throughout the ages have left their art lessons encoded in their works in this series i deconstruct the artwork to find the compositional story and structural devices as well as reverse engineer the thinking involved in creating their magnificent art you don t know what you don t know so it s hard to imagine what you re not aware of so i ve posted a free video lesson on youtube to show you what you ve been missing it s a short 10 mins excerpt from one of the upcoming lessons into the design lab featuring the work of frank frazetta i want folks to know what they re getting in this series it will blow your mind into the design lab a gumroad preview it s an academic dissection of history s most indelible artwork and it s free into the design lab with marcelo vignali free sample the power in each of these portraits speaks volumes to us we wander around these images with our eyes picking up on subtle hints in the anatomy decoding each nuance of expression a raised brow parsed lips or a glint in the eye and we feel something visceral great photographers not only capture their subjects but also are making commentary how they feel about their subject they see something within that person and work the lights the exposure the depth of field posing to find that perfect picture that definitive statement that can transcend decades and generations and speak to us at our core we see these portraits and feel something this is the power of the visual language one can t look at kurt cobain and think of his amazing energy his voice and his tragic ending this portrait is interesting and very similar to halle barry s portrait it s soft light that reveals his face but unlike halley the photographer added some light behind him to pop out the darker right side and silhouette the strands of his hair against it the aperture also has a shallow depth of field that means we re close up close enough to feel like we know him and in this intimate space we start to explore the nuances that expose the raw nerve of his pain his brow is slightly knit his dirty hair hides part of his face as a wounded eye engages us there is a soft highlight in one eye he s alive and he wants us to know how he feels this enigmatic portrait shows a beautiful but vulnerable marilyn monroe sad unhappy pained there is no highlight in her blue eyes they are lifeless her mouth slight agape as though she were about to tell us what hurts why it hurts she s leaning forward as if to whisper this painful secret to us her turbulent hair echoes the machinations of her mind and the tumult of her life frozen in that moment unable to tell us this secret she s so close but yet forever out of reach this is a wonderful portrait of boy george enigmatic his face is like the moon revealing only half to us mysterious and occluded it s a high contrast image and the light is not soft but rather making a direct statement about the topography of his face he s leaning forward to engage the viewer his eye intense is locked in on us he is not friendly he s challenging us with his intense gaze this portrait of halle barry is wonderful the soft lighting allows the light to carefully caress her face and reveal the subtle nuance and texture of her beauty the tassels of her hair are softly arranged across her forehead the horizon line is above her she appears vulnerable yet confident the highlight in her eye indexes towards us we feel as though the highlight is coming from our direction as we greet her she invites us with the most subtle smile a young marlon brando before his rise to superstar status in this portrait it appears as thought brandon is focused into that far away place of his future self he can t see it or even understand what he s looking for but he aches to create it the bright light on his face not only reveals the structure of his handsome face but also lights the wall behind him making it appear as though he s looking to engage this bright future that awaits him the darkness behind him is mysterious brooding propelling him and that also adds to the brando mystique but the way this portrait is lit and the position of his body tells us brando is apprehensive about stepping into the light also the highlight in his eye makes it appear glassy like there is some emotional vulnerability the choice of this portrait is interesting in that he is not engaging us rather he is absorbed in this tumultuous task of self discovery as though he dreads the light josh brolin s portrait speaks to us in aggressive confrontation he isn t close to us enough for us to feel as though we know him so we can t connect his eyes squinting his body squared up on us shoulders rolled forward there are negative spaces between his arms and his body he s ready to engage in the confrontation between himself and the viewer he is not occluded into the background rather he is clearly silhouetted against the background he stands in defiance and you know where he stands this is a very old john huston his portrait says a lot the light is designed to accentuate every wrinkle every freckle every scar he has earned through out his 80 years he is done playing any games there s ...