মুখ্য The Art of the Good Dinosaur

The Art of the Good Dinosaur

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What if the asteroid that forever changed life on Earth missed the planet completely and giant dinosaurs never became extinct? The Good Dinosaur takes you on an epic journey into the world of dinosaurs where an Apatosaurus named Arlo makes an unlikely human friend. Showcasing the stunning artwork from the film's creation—including sketches, storyboards, maquette sculpts, colorscripts, and much more—The Art of The Good Dinosaur offers the ultimate behind-the-scenes look at the research and design that went into the making of this innovative film.

সাল:
2015
প্রকাশক:
Chronicle Books
ভাষা:
english
পৃষ্ঠা:
171
ISBN 13:
9781452122205
ফাইল:
PDF, 136.54 MB

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1

Región Hidrológica 20 Grijalva

İl:
2014
Dil:
spanish
Fayl:
PDF, 17,48 MB
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Lighting Study Sharon Calahan, Layout Rosana Sullivan



3

FOREWORD BY JOHN LASSETER • INTRODUCTION BY PETER SOHN

T H E  A R T  O F



4

Concept Art Paul Topolos



5

 FOREWORD
JOHN LASSETER

 One of the things we love to do at Pixar is take something familiar 
and show it in a way people have never seen before. 
What got us interested in the world of dinosaurs was a simple question: what 

would have happened if the asteroid that brought an end to the dinosaur era 

had missed Earth, and dinosaurs had gone on living? 

This question led to many more—How would they have evolved? What 

would that world look like?—and we soon found ourselves thinking about 

plant-eating dinosaurs working farms (and, eventually, meat-eating dinosaurs 

running ranches). The more we dug into the story, about the coming of age of 

a young dinosaur who befriends a feral human boy, the more excited we got 

about the incredible richness of this idea.

Peter Sohn is one of the most engaging storytellers at Pixar. He wears his 

emotions on his sleeve, but combines that sincerity with a disarmingly sharp 

sense of humor. A talented actor who has done voices in several of the studio’s 

movies, he is also extremely perceptive about behavior and personality. All 

those skills went into shaping and giving truth to the characters in this film. 

I always say you are what you direct, and you can feel Peter’s openness and 

warmth in the characters of both Arlo and Spot. 

There is a wonderful simplicity to The Good Dinosaur, a purity of 

storytelling that took a long time and a lot of hard work to achieve. The 

deliberate choice to have very little dialogue in the film meant that there 

would be that much more attention on the visual storytelling, and, as you’ll 

see, the film’s artists have absolutely risen to the occasion. Their spectacular, 

ingenious, and appealing work masterfully supports Arlo and Spot’s story—

one of the most emotional we’ve ever told.



6

Photographs Harley Jessup 1, 3, 5, 7 
Lighting Study Sh; aron Calahan 2 
Concept Art Noah Klocek 4, 8 
Storyboard Rosana Sullivan & Louise Smythe 6

1 2

INTRODUCTION
PETER SOHN

This movie started with a single drawing—a dinosaur with a little boy. The moment we saw 

it, we knew that was the heart of the film, the place where all the electricity was. However, 

everything else about the story was a mystery. Trying to figure out where those characters 

came from, what they were going through, and where they would end up has taken many years.

From early on, we were drawn to the idea that these two characters had a classic 

“boy and his dog” relationship—but with the dinosaur as the “boy,” and the human as the 

“dog.” We loved the idea of them navigating the world together, learning about themselves 

and each other, and helping one another grow up. This time of life is intimidating, thrilling, 

and often scary, and we wanted to set their story in a place that would visually evoke the 

challenges they were facing. 

We found the perfect inspiration in the wide-open landscapes of Wyoming and Idaho. 

The massive plains and plateaus, thundering rivers, and dramatic mountain ranges would make 

even the largest dinosaur feel small. But you’re also always drawn in by the gorgeous light and 

fantastic details of the changing terrain. The artists on this film have done an incredible job 

translating the spirit of what we saw there into the world of our story.

They also worked similar magic designing the characters. We always knew we wanted 

our characters to both appeal to what people love about dinosaurs, and hopefully, surprise 

them with something they were not expecting. Sometimes finding that perfect combination 

was the most effortless process in the world, with characters immediately jumping into three-

dimensional life. Other characters only slowly came into focus after layers and layers of 

conversation and countless drawings.

Each discovery, though, was only made possible by all the hours and experiences that 

went into the project from its very earliest days. Thank you to all the filmmakers who gave their 

talents to this project at every stage of its existence. This journey could not have been made 

without you.



7

3

5

7

4

6

8



8

(above and opposite)  Character Explorations Erik Benson

consistency
– weak

– gullible
– afraid
– coward

Raptors Poppa's death
storm





needs

Act 1 setup

+

– compassion for small

– See's the details

(heroic)

– makes up stories


– "this one time ..."


– "You didn't do that,"






– "no, but I couldve."


paradox


farmer optimistic?

values


family compassion for small/weak
Arlo


wants

not be cowardly stand up and overcome fears
Quirks

tail biter

bookworm equivalent

– indoors
– orgainzed
– calculative
– introvert
– imaginative


Dreamer not a Doer

F - "you wrestled a snake?"


A - "Yep, giant one."


F - "Dont move. There's a chicken right behind you."
A - (curls into ball) GET IT A WAY! GET IT A WAY!

- no chickenF - "You didnt wrestle a snake".

A- "no but I couldve"



9

– guarded
– loyal
– rough
– hungry

spot

mentor

– though love
– survial

wants
food

a friend

The

Dog

simple
don't need arc

Questions??
– does spot want a father (There?)

–  Arlo gives spot what he can't have? doesn't need?
Spot fills 

Arlos void

From
what tribe?

– musical
– native american

– wolf

– swedish immigrant

– gypsy

– farmer

– medicine man



10

Arlo Color Study Bryn Imagire



11

Spot Color Study Bryn Imagire



12

(above and opposite) Arlo Character Studies Matt Nolte



13



14

Arlo and Spot Character Studies   
Erik Benson 1, 4 
Rosana Sullivan 2, 5 
Valerie LaPointe 3

1

3

4

2

5

Arlo as spot Fashion makeovers

spot as Arlo

Touching Arlo's face

Head butting

BOUNCE HOUSE

Belly BAl



15

Concept Art  
Daniel López Muñoz



16

(above) Concept Art Bob Peterson

(opposite) Arlo Character Studies 
Matt Nolte 1, 5, 7 
Daniela Strijleva 2, 6 
Peter Sohn 3, 4



17

1

3

5

6

7

4

2



18

Spot Character Studies 
Peter Sohn 1, 2, 6 
Enrico Casarosa 3, 4 
Erik Benson 5 
Daniela Strijleva 7, 8

1

3

6 7 8

4 5

2



19

Spot Character Studies Matt Nolte



20

Spot Character Study Peter Sohn



21

Spot Sculpt Greg Dykstra



22

Lighting Study Sharon Calahan



23



24

(above and opposite) Concept Art Noah Klocek



25



26



27

(above) Set Exploration Erik Benson

(opposite) Concept Art Armand Baltazar


The Homestead





29

(above) Lighting Study Sharon Calahan, Layout Erik Benson

(opposite) Concept Art Huy Nguyen, Matt Nolte, Harley Jessup 



Family Color Study Bryn Imagire



31



Momma & Poppa Character Studies 
Daniela Strijleva 1, 2 
Tom Gately 3

2

3

1



33

Young Siblings Character Studies Ricky Nierva (1, 3), Tom Gately (2), Matt Nolte (4)

1

3

2

4



34

Lighting Study Sharon Calahan, Layout Erik Benson



35

Babies Character Studies Matt Nolte



36

Baby Arlo, Libby & Buck Color Study Jennifer Chang



37

Baby Dinosaur Color Studies (bottom left) Rona Liu, (remaining artwork) Saera Hwang



38



39

Concept Art Daniel López Muñoz



40



41

Storyboard Bill Presing





43

Set Design Kristian Norelius 
Layout Andy Grisdale



44

Storyboard Edgar Karapetyan & Domee Shi



45

Lighting Study Sharon Calahan, Layout Austin Madison



46

Lighting Study Sharon Calahan, Layout Edgar Karapetyan



47

(above) Storyboard Adam Campbell

(right) Graphic Bryn Imagire



48

PROFILE

TRAP DESIGN

FRONT SCALE

TOP



49

(above) Storyboard Erik Benson

(opposite) Concept Art Kyle Macnaughton



50



51

Concept Art Noah Klocek



52

(top) Lighting Study Sharon Calahan, Layout Erik Benson; (bottom) Lighting Study Sharon Calahan, Layout J.P. Vine



53

Lighting Study Sharon Calahan, Layout Erik Benson



54

Lighting Study Sharon Calahan



55

Set Design Huy Nguyen



56

Storyboard Alex Woo



57

Lighting Study Sharon Calahan



58
Set Design Huy Nguyen



59



60

Lighting Study Sharon Calahan



61

Color Studies (left) Saera Hwang, (center and right) Rona Liu



62

Storyboard Rosana Sullivan



63

Lighting Study Sharon Calahan, Layout Rosana Sullivan







Color Script Sharon Calahan









70

Storyboards Gleb Sanchez-Lobashov



71

Prehistoric Insect Color Study Bryn Imagire



72

(above) Gopher Character Study Matt Nolte

(opposite) Storyboards J.P. Vine



73



74



75

Set Design Kyle Macnaughton 
Layout Matt Aspbury



76
Lighting Study Sharon Calahan, Layout Matt Aspbury



77

(right) Prehistoric Snake Character Study Matt Nolte

(below) Storyboard J.P. Vine



78

Storyboards J.P. Vine



79

Storyboards J.P. Vine, (bottom) J.P. Vine & Adam Campbell



80

Lighting Study Sharon Calahan, Layout J.P. Vine



81

Storyboard Rosana Sullivan



82

(above) Storyboard Kelsey Mann & Edgar Karapetyan

(opposite) Pet Collector Character Study Matt Nolte



83



84

Forest Critters Character Studies Matt Nolte



85



86

Storyboard Edgar Karapetyan



87

Lighting Study Sharon Calahan



88

(top) Storyboard Rosana Sullivan

(bottom) Storyboard Rosana Sullivan & Adam Campbell



89

Concept Art Tim Evatt



90



91

(above) Concept Art Kyle Macnaughton

(opposite) Storyboards Erik Benson



92



93

Lighting Study Sharon Calahan, Layout Louise Smythe



94

Concept Art Noah Klocek



95

Set Design Noah Klocek, Layout Philip Metschan



96

Lighting Study Sharon Calahan, Layout J.P. Vine



97

Storyboard J.P. Vine



(top) Storyboard Domee Shi

(center) Storyboard J.P. Vine

(bottom) Storyboard Edgar Karapetyan

(opposite) Concept Art Kyle Macnaughton



99



100
Concept Art Tim Evatt



101



102



103

(above) Pterodactyls Character Exploration Austin Madison

(opposite) Pterodactyls Character Studies Matt Nolte



Pterodactyls Color Study Bryn Imagire   
Design Matt Nolte  
3D Model Lou Hamou-Lhadj





106



107
Set Design Kristian Norelius, Layout Matt Aspbury



108

Storyboards Dean Kelly & Bill Presing



109

T-Rex Character Study Matt Nolte



110

(above) Butch Sculpt Greg Dykstra

(opposite) Butch Color Study Jennifer Chang



111



112

Bisodon Character Studies 
Peter Sohn 2, 5 
Matt Nolte 1, 3, 4, 6, 7

1

2

3

4

5

6

7

IDiot 1 with TUSKS

IDiot 2 with horns



113
Bisodon Color Study Laura Phillips



114



115

Lighting Study Sharon Calahan



116

Storyboard Austin Madison



117

Butch & Velociraptors Character Study Matt Nolte



118

Velociraptor Color Study Bryn Imagire   
Design Matt Nolte 
3D Model Lou Hamou-Lhadj



119



120

T-Rex Character Study Matt Nolte



121

Velociraptor Character Studies 
Matt Nolte 1, 2, 4, 5  
Ricky Nierva 3

1

4

5

2

3



122

Set Design Kristian Norelius, Layout Matt Aspbury



123



Butch Character Studies Matt Nolte

Lighting Study Sharon Calahan, Layout Ricky Nierva



125

Storyboard Gleb Sanchez-Lobashov



126

Storyboard Rosana Sullivan



127

Lighting Study Sharon Calahan



128

Storyboard Valerie LaPointe



129

Concept Art Huy Nguyen, Layout Valerie LaPointe



130

(top) Storyboard Kelsey Mann

(bottom) Storyboard Louise Smythe

(opposite) Lighting Study Sharon Calahan





132

Concept Art Daniel López Muñoz



133



134

Lighting Study Sharon Calahan, Layout Erik Benson

Lighting Study Sharon Calahan, Layout Rosana Sullivan 



135

Lighting Study Sharon Calahan, Layout Rosana Sullivan & Kelsey Mann

Lighting Study Sharon Calahan, Layout Erik Benson



136



137

Concept Art Huy Nguyen  
Layout Rosana Sullivan & Edgar Karapetyan



138

Set Design Kristian Norelius, Layout Matt Aspbury



139

Storyboard Domee Shi



140

Lighting Study Sharon Calahan, Layout Matt Aspbury



141

(top) Storyboard Rosana Sullivan

(bottom) Storyboard Bill Presing & Rosana Sullivan





143

Set Design Garrett Taylor 
Layout Matt Aspbury



144



145
Concept Art Huy Nguyen



146

Storyboard Thumbnails Bill Presing

660 Find spot - ML 2 -10/16/14

spot

(howl)

Arlo runs in that direction.

He finds four Pterodactyls at the river, around a dead tree

Spot in inside the tree.

Spot is clearly hurt, trying to protuct himself but
vulnerable.

He looks over to Arlo-- HELP ME.

SMASH Spot dodges down as a Ptero smashes at the tree trunk

to get him.

PTEROADACTYLS
(walla)

HE'S MINE!/ Back off! / No I got
'im!/ Quit hogging! / I got 'im

first!

PTEROADACTYLS (CONT'D)

(growls, hissing)

Arlo charges at them, head butting one of the pteroadctyls

INTO THE RIVER!

PTEROADACTYLS (CONT'D)

(scream)

ARLO
(shiver, nervous)

All but the burned Ptero fly at Arlo. She stays at the tree,
smashing to get to spot-- her intensity palpable. She WILL
get Spot.

The Pteros attack Arlo -- using their beaks and wings to beat

the crap out of him.

PTEROADACTYLS
You think you're somethin'? / You
aren't anything. /Piece of
Worthless -- / Get up! I dare you!

ARLO

(impact, pained)

Arlo tries to fight them but he is failing.

WATER RISES in the river near ARLO. THE GROUND STARTS 
SHAKE.

©2014 DISNEY. PIXAR - PRIVILEGED AND CONFIDENTIAL

6 vururos(l bumed)

knocks out a few "who do you think you are missing at ar ar going"
start beating him up touch ar Birds Hichcock

Boards in Face.

Back after mum lock at Bully look Viching than selt



147

Storyboard Rosana Sullivan



148

Color Study Laura Phillips, Set Design Kristian Norelius



149

Set Design Kristian Norelius, Layout Matt Aspbury



150

Set Design Kristian Norelius, Layout Matt Aspbury



151

(top) Lighting Study Sharon Calahan, Layout Erik Benson & Rosana Sullivan

(bottom) Lighting Study Sharon Calahan, Layout Rosana Sullivan



152

(above and opposite) Lighting Study Sharon Calahan, Layout Andy Grisdale



153



154

Human Family Character Study Matt Nolte



155

Human Family Color Study Bryn Imagire



156

(above) Storyboard Rosana Sullivan

(opposite) Concept Art Kyle Macnaughton



157



158



159

Set Design Huy Nguyen & 
Kristian Norelius 
Layout Andy Grisdale



160

(top) Storyboard Dean Kelly

(bottom) Lighting Study Sharon Calahan, Layout Dean Kelly



161

Set Design Huy Nguyen, Layout Andy Grisdale



162

Lighting Study Sharon Calahan, Layout Andy Grisdale



163

Storyboard Thumbnails Rosana Sullivan

Jump opening-ride+ simple Coming back new nal so much nostalgia

52 hts met talking care f jung plast never joinendg? struggling don't an face tight an moumer

sheet1

sheet 2



164

(above) Storyboard Rosana Sullivan

(opposite) Storyboard Rosana Sullivan & Peter Sohn



165



166



167

Set Design Huy Nguyen, Layout Philip Metschan



 Acknowledgments
Thank you to the many brilliant artists whose hard work took this project from its 

very first moments to its final frame, and to the friends inside and outside the studio 

whose efforts made this book possible: Megan Bartel, Kelly Bonbright, Lia Brown, 

Ali  Charlesworth, Deborah Cichocki, Michelle Clair, Courtney Drew, Neil Egan, 

Susan Eggett, Sarah Farber, Sally Garbarini, Emily Haynes, Harley Jessup, Molly Jones, 

Jessica Kelly, Jennifer MacVittie, Kelsey Mann, Jeanette Marker, Karen Paik, Lee Rasé, 

Jessi Rymill, Shiho Tilley, and Margo Zimmerman.

 —— DENISE REAM

Copyright © 2015  
Disney Enterprises, Inc. and 
Pixar Animation Studios. 

All rights reserved. No part of 
this book may be reproduced 
in any form without written 
permission from the publisher.

Library of Congress  
Cataloging-in-Publication 
Data is available.

ISBN: 978-1-4521-2220-5 (hc)
ISBN: 978-1-4521-4756-7 (epub, 
mobi) 

Designed by Jessi Rymill Chronicle Books LLC
680 Second Street
San Francisco, California 94107
www.chroniclebooks.com

ARTIST CREDITS
Cover: Follow the River Concept Huy Nguyen, Layout Robert Kinkhead
Half-Title Page: Graphic on 3D Model Bryn Imagire
Color Script Layouts: Erik Benson, Adam Campbell, Edgar Karapetyan, 
Dean Kelly, Austin Madison, Kelsey Mann, J.P. Vine, Bill Presing, Gleb 
Sanchez-Lobashov, Louise Smythe, Rosana Sullivan
This Page: Spot Character Study Peter Sohn
Next Page: Baby Arlo Character Study Matt Nolte
Back Cover: Concept Art Kyle Macnaughton, Layout Rosana Sullivan 

http://www.chroniclebooks.com/


169

 About the Authors
 J O H N  L A S S E T E R  is a two-time Academy Award®–winning director, chief 

creative officer at Walt Disney and Pixar Animation Studios, and principal creative 

officer at Walt Disney Imagineering.

 

P E T E R  S O H N  is the director of The Good Dinosaur. He directed the short Partly 

Cloudy, and was a story artist on the Academy Award®–winning features Finding 

Nemo, The  Incredibles, and WALL•E.





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	Cover
	Title
	Copyright
	FOREWORD
	INTRODUCTION
	The Art of The Good Dinosaur
	Acknowledgments
	About the Authors
	Chronicle Ebooks

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