Compare and Contrast Historical and Contemporary Visual Development, through Artists within Animation

Name: Rebecca Banks

Student Number: 1600190

Word Count: 4391 Words

1

Contents: Pages:

1. Introduction 3

2. Section 1: Historical Artist 4-7Fig 1: It’s a Small World RideFig 2: Sleeping Beauty Concept Eyvind EarleFig 3: Sleeping Beauty Book Cover Mary Blair

3. Section 2: Contemporary Artist 7-11Fig 4: Evangelion Fig 5: Ryan Lang ProcessFig 6: Ryan Lang Process 2Fig 7: Sugar Rush Candy Cane ForestFig 8: Sugar Rush Speedway

4. Section 3: How My Work Relates? 11-14Fig 9: Process DiagramFig 10: Freeze Frame Revolution Art PieceFig 11: Big Hero 6 – Visual DevelopmentFig 12: Cinderella Bedroom Design

5. Conclusion 14-15

6. Bibliography 16-17

Introduction: 2

Throughout, visual development’s effect on animation this will be discussed by completing a case study on two artists, one historic and one contemporary. The historic artist being Mary Blair and the contemporary artist being Ryan Lang, both of whom did or have recently worked for Walt Disney Animation Studios. Discussing their history and impact on certain films or processes, with the aim to discuss the changes through history as well as the similarities still used today.

Visual development covers a wide scope of the design process within animation, with concept art, background art, environment art and many more come within or close to the visual development banner.

Visual development artists, design materials for films or books to convey the fundamental message and feeling of films. They do this using colour, light, composition, perspective and a strong layout. Within background art, a background artist, also referred to as a background painter or background stylists’ job is to establish the colour, style and mood of a scene. To convey the scene in the correct way set out by the layout artist. Within concept art their job is to introduce ideas to be used in films, games and animation before it is finalised and put into the final film or game.

Blair and Lang have been referred to by many different titles, including concept artist, colouring and styling, visual development artist, environment designer and illustrator. There is a thin dividing line between them all, but they all come under the same category just slightly different sub headings, slightly different task but essentially the same end goal.

Both artists have worked for Disney but in different centuries, Blair worked there for around a decade in the 20th century from the year 1940 up until the 1950’s, brought in to work on Cinderella. Ryan Lang was offered a position at Disney under a training programme and later a full-time job and worked on Wreck it Ralph, he refers to himself as a freelance artist, but has worked on a few of Disney’s features as well as his own work and other projects.

The aim is to discuss two artists from different decades, giving around a 60-year gap between them working for Disney. This is to show how time has changed the way processes work, in terms of technology, how visual development is approached, then and now.

They both will have different approaches to their work and reasons for doing this, so their work processes will also be discussed, as well as discussing the authors work in relation to Lang and Blair’s processes.

Section 1: Historical Artist:

3

Mary Blair started off as a painter and illustrator. Blair attended Chouinard School of Art through a scholarship, it was here she studied to become an illustrator and her involvement with future husband Lee lead to an interest in fine art painting.

Mary Blair joined Disney in 1940 “Blair accepted a position with Walt Disney Studios during the Depression, assuming the company would welcome her artistic flair.” (Bush, E., 2017), she was first and foremost a painter and was used to artistic freedom the sign on at Disney took her away from this, but ‘The Great Depression’ could have been a contributing factor. Walt Disney showed a great interest in her work and was interested in getting her to work on his upcoming feature film Cinderella, “Blair became a brilliant modernist colorist for the studio. She helped develop the hues and moods of “Cinderella” (1950)” (Wonderland., 2017), this was the film Disney brought her on for, but she had a great impact upon the studio, working on many of Disney’s features during the decade she worked here.

Blair found herself in a very privileged position as “From the 1920s through the 1960s, the animation industry was a labor force segregated by gender, in which women were almost entirely restricted to the Inking and Paint department” (Ratelle, A., 2014), it was rare back then for women to be given a decent position in anything high up or important as they were viewed as not as important as the men. So, for Blair to become a fundamental part of Disney studios even if for only a short time was a great achievement. “He appreciated her unconventional use of color and wanted it for the “It’s a Small World” ride he designed for the 1964 World’s Fair.” (Bush, E., 2017.) Walt Disney thought very highly of her and specifically for her use of colour. Although she quit Disney back in 1953, Disney was still interested in getting her artistic eye and her assistance for the ride It’s a Small World as shown in the image below:

Fig 1: It’s a Small World Ride (Designing Disney., 2011.)

Additionally, in reference to her colour and style “the images become flat and hard-edged and the color scheme over-saturated, all characteristics of Disney artist Mary

4

Blair’s style” (Telotte, J.P., 2007) in reference to her work on The Three Caballeros explaining her art style and that her use of colour is bright, vibrant and strong, which is evident in the image taken from the ‘It’s a Small World’ ride above.

Blair worked as a sketch artist, moving onto working the ground work of films, working as a background and colour stylist as well as working as an art supervisor on Saludos Amigos. During the war years at Disney of which Mary was employed at the studio was described “Disney’s quest for realism through the close, quasi-scientific observation of nature” (Clément, T., 2017), this is proved by the trips to different countries completed to observe the correct environments. Blair went on a trip to South America in 1941 with Walt Disney for films such as Saludos Amigos (1942) and The Three Caballeros (1944). This is where she properly worked out her art style, she had her eyes opened on this trip and people noticed, ““There is a difference in feel down there, in the colors, the smells, the tastes. I think they were all inspired by it. She was particularly inspired by it,” said John Canemaker” (Wonderland., 2017), Canemaker is an american independent animator, animation historian, author, teacher and lecturer. Blair had a certain flair for colour “followed her own vision and relished playing with color.” (Bush, E., 2017.) And during a time when they painted backgrounds and animations on cel, was a great time for her to work considering she was a painter by trade “Many animated films of the twentieth century were created using the method based on hand-painted animation cels.” (Hoeyng, K., 2016) Animation cel are transparent sheets of acetate that are then painted by hand by either the background artists or the paint and ink department working from the animator’s sequences.

Animated cels link onto the type of technology that would have been used when Blair was working at Disney. It would have been the time of the multiplane camera of which an early version was designed and used by Lotte Reiniger “Her design of the multiplane or Tricktisch, as she called it, revolutionised two-dimensional animation” (Schönfeld, C., 2006), this was created in 1923 and later improved on by Ub Iwerks for Disney, this is another example of how women in animation are treated, as Reiniger is generally overlooked in relation to the multiplane camera. “Disney's multiplane camera added the illusion of depth to animated films. It photographed through five stacked panes of glass. The first two were for the characters. The next two were for the background. And the fifth was fixed as the sky” (Karwatka, D., 2008.), the layers where painted up and set out on these layers, the camera was situated above all the layers, the layers could then move closer or further away from the camera depending on the depth you wanted to create. The sky on the bottom layer was the only fixed layer. Blair would have to take into consideration this piece of equipment when designing her backgrounds, as the background was split between three layers, so Blair would have had to be conscious of the placing of details within the scenery when designing. This would have been an important thing to think about anyway, but with the addition on the multiplane camera there was more depth available then there used to be.

Sleeping Beauty came along and Disney wanted something completely unique looking and took a chance on a man called Eyvind Earle who was the main creative eye behind Sleeping Beauty people say “there is a concept drawing by Mary Blair for the cover of a "Sleeping Beauty" storybook, and it's interesting to contrast Blair's whimsical style with Earle's, and imagine how different the film would have looked based on Blair's designs.” (Munson, K., 2010.), which you can do in these images:

5

Fig 2: Sleeping Beauty Concept Eyind Earle (Earle, E., 1959.)

Fig 3: Sleeping Beauty Book Cover Mary Blair (Blair, M., 1959)They both have a nice whimsical style, but you can see with Blair it is much more vibrant when it comes to colour and her work seems to have a nice naivety to it, bright, appealing and childlike. Blair has a much broader range of colour with vibrant and pastel colours included, adding more depth to the painting. Shapes are used but Blairs are more simplistic.

Speaking of Blairs naïve style, she moved onto books for children which gave her a lot more creative freedom with her designs by not being held back with the rules of a studio. This led Blair to design ‘It’s a Small World Ride’ for Disneyland, which Walt Disney asked her specifically for.

Mary Blair worked through a variety of mediums (painting, hand drawing, book designing) and dealt with new technology (multiplane camera, animated cels, designing a ride) which she would have had to consider a great deal when designing her backgrounds for these feature films, amongst other creations.

6

Overall the opinions above all conclude that Mary Blair is perceived as a great artist of her time, she is well recognised and remembered for her vibrant colour and whimsical art style. She had to overcome personal and professional obstacles, having to deal with harsh critiques as well as the introduction of new technology. Blair took a job at Disney during the depression, which she wasn’t sure about taking up, but she really found herself and her style while there and has become a recognised figure in the world of animation.

Section 2: Contemporary Artist:

This section discusses the contemporary artist, who is called Ryan Lang, he refers to himself as a freelance visual development/concept artist, this could be for many reasons which are not confirmed, he could want creative freedom, was not offered a full position but a licence instead or just prefers to work as a freelance artist. He has worked so far on Wreck it Ralph, Moana, Big Hero 6 and more. Lang got his first Job at Disney straight out of college “After I graduated from college, I was hired for the trainee program at Walt Disney Animation Studios and was offered a full-time position after I completed the program.” (3DTotal., 2015), so like Mary Blair got offered a great opportunity, except in this case the unique nature of the appointment is the rarity for people to end up at Disney straight from college, which speaks volumes for his portfolio, and high level of work.

Technology has advanced dramatically since the time of Mary Blair, most studios opt for working digitally “concept artist used various kinds of medium; however normally in this generation it would seem that computer software is the average” (Shamsuddin, A.K.,), alternatively there are people and countries who opt out of digital means “In contrast, Miyazaki’s anime films seem to be aligned more with the codes and conventions of painted and hand-drawn images” (Chan, M., 2015.) for more a traditional feel and look to his work, as well as “digital painting is yet to be explored as a visual art form in the traditional studio painting fraternity” (Annum, G.Y., 2014) this is the case in various places around the world, as well as known studios like; Boulder Media and Cartoon Saloon opting for hand painting. There are positives of course to using digital technology as opposed to painting by hand “The turnaround with digital work is very quick, and most companies now lean towards digital tools.” (3DTotal., 2015), with the addition of the undo tool, in times of accidental mistakes and the excessive space in which to save and preserve works created this way. During modern times, traditional methods are used but are reduced so it is more of a unique technique used now, in Lang’s words “I mainly work in Photoshop. Sometimes I’ll sketch out thumbnails or draw on paper, but eventually it ends up on the computer.” (3DTotal., 2015.), more traditional methods in Lang’s case, used regularly would be sketching and thumbnails to get Lang up to a standard where it can be transferred into a digital format to be worked on further.

Lang is greatly appreciated for his way with colour, lighting and textures, “design of an environment through a variety of means such as temperature, sounds, layout, lighting, and colors can stimulate perceptual and emotional responses in consumers and affect their behavior” (Kurt, S., Osueke, K.K., 2014.), they are something that can alter thoughts, feelings and emotions with subtle changes in shade, colour choice as well as the general layout. Looking at Lang’s artwork, he has a great sense of picking a very good colour palette no matter what type of art he is creating “Ryan's style is very nice, and

7

his use of colors and textures is great.” (Gabriel., P. 2015.), his work also is verging on the realistic you can see this quite clearly in the image.

Fig 4: Evangelion (Lang, R., 2015.)This image is a great example to show off his colour, amazing lighting and his realism in his art work. Unlike Blair, Lang wouldn’t be classed as just using vibrant colour but as having a great eye for an amazing colour palette, which varies throughout his work. “Aside from his skillful use of color and lighting, Ryan is a master of capturing the mood and intensity of each scene in his paintings” (Reinhardt, F., 2017) his work sticks to being quite lifelike, his art style is quite realistic with elements added to include fantasy/sci-fi extras, which are drawn to this high standard that you believe they belong in the worlds he creates.

It is important to Lang to draw from life, which would help a great deal in his creations “I try to go out and paint from life a lot, and I do a lot of studies.” (3DTotal., 2015.) Lang has also discussed his process when it comes to light and colour “Sometimes, I can remember a certain palette, or sometimes I need to find a photo for inspiration. I don’t color pick because I’m trying to understand what’s happening between the light and the objects in the scene” (3DTotal., 2015.). Referring to Lang’s process when approaching creating a piece of art work from scratch, which are viewed in the two images below:

8

Fig 5: Ryan Lang Process (Lang, R., 2015)

Fig 6: Ryan Lang Process 2 (Lang, R., 2015.)Lang starts off with rough sketching to get down the idea he wants to convey on paper, he then moves on to clean up the lines and begin to block in colour, sticking to a specific colour palette he feels suits the piece. In these images he has mentioned his intentions to blur out the background, but it is an important part of his process to show as much detail, colour, light and texture as possible to be authentic to the scene. He will continue to build these adding layers of effects to gain the right look he envisioned in his head. He will finish off with the blur he mentioned and adding in additional lighting. This art piece is a design from Legends of the Guard Volume 3, which is a comic by David Petersen.

9

Wreck it Ralph was a great opportunity for Ryan Lang, as well as being his first job at Disney, it was a way for him to show off what he is capable of as well as to work on his skills alongside industry professionals, in Lang’s words “I think my favorite moment was seeing the first bits of animation trickle through, and the biggest struggle was keeping up with the amazing group of artists on the show.” (3DTotal., 2015.), as an example below you can see Lang’s art work and then how the area looked within the film itself.

Fig 7: Sugar Rush Candy Cane Forest (Lang, R., 2012.)

Fig 8: Sugar Rush Speedway (Wreck It Ralph., 2012.)

The tree shapes and the candy cane nature of the forest remains the same, however they have kept the pinks and of course Lang’s has a different artistic angle, some of his trees are in shadow so his colour palette is darker than the one finally used in the film. The film version was brightened up significantly and it isn’t the same section of forest, Lang is of course a concept artist on this film, so his job was to come up with ideas of a look and feel that would suit the director’s vision of the story.

10

Overall the opinions above all conclude that Ryan Lang is a master at picking a good colour palette, works well with texture and light. His work is of a high standard and well received by many in the industry. Lang comes across as humble and he is always learning, he knows he is in a privileged position and intends to learn all he can from whom he can. Lang works in an age where technology is the norm, where it must be embraced and explored, to find a way that works well for the individual.

Section 3: How my work relates?

During this section, a discussion will happen regarding how the processes and artists discussed above relate to the authors work in this field. From this point this section will be discussed in 1st person.

My interests started with art and I have returned to art. I have decided to move onto background art/visual development to take me forward, it is the idea of developing a piece of art, adding life, meaning, colour and light, with all my heart going into these pieces. The passion for visual development started back in the first year of university, during a module on this subject. During this module, it got me thinking of artists and their processes.

I created a process of how I would put an art piece together in form of a diagram;

Fig 9: Process DiagramI start with ideas development with general research for inspirations. When I have an inspiration for an art piece, I complete more specific research, find reference images and collate mood boards. With inspiration set and mood boards collated. I then design thumbnails to work out the general composition and layout. This will move onto building up my work in Maya or grey scaling them in Photoshop. It is at this stage I love to have feedback on designs, so then I can develop them further, if I have built them I will them transport them into photoshop for colour and texturing, prior to this it is very important for me to have a good colour palette for each piece to work from. I will then gain extra feedback for the general look and feel before I add the finishing touches of lighting and to make sure my pieces have the right feel and message throughout.

11

I discussed Lang’s process and approach to work in the contemporary art section of this essay, like me he starts off with simple sketches to work out the layout and composition of the piece and builds it up layer by layer, process by process.

To both Blair and Lang colour is an important aspect of their work and I feel this applies and is relevant to my design process.

In terms of technology I am more in sync and relatable to Ryan Lang, my work is digital based working with programmes like photoshop as well as Maya for building and the only traditional tools, like Lang will come in the form of sketches and thumbnails.

Moving forward I would love to learn more art skills, refine and discover my art style like Mary Blair. I will continue to learn and develop as I feel you can never stop the learning process. Writing this essay has made me think about more traditional techniques, like painting and if I could create my art style through more traditional methods, like Blair and how this would change my working process.

I can compare and contrast my art to that of Mary Blair and Ryan Lang, with the following images below:

Fig 10: Freeze Frame Revolution Art Piece (Banks., R)The piece of mine is being compared to Ryan Lang’s Big Hero 6 design:

12

Fig 11: Big Hero 6 – Visual Development (Lang, R., 2014.)And Mary Blair’s Cinderella bedroom concept art piece:

Fig 12: Cinderella Bedroom Design (Blair, M., 1950.)They are all fantasy-based designs with reality worked through in some way, some more then others, for example my design and Lang’s design have much more realistic elements in them than that of Blair’s design and a much more three-dimensional element to them. With Blair’s you can see the illustration side of art. Mary Blair’s is much more fairy tale in terms of story and appearance, the other two designs are more science fiction.

All three pieces are all taken from a real story or idea that someone has had. The colours all vary as they are all unique pieces of art, they all have a set colour palette that goes well with the pieces. The vibrancy stands out with that of Mary Blair’s design. In terms of texture I would say Blair has the most visible texture at first glance with the paper texture coming through from underneath the paint. Lang’s has great texture to with the rubble and metallic textures.

The fundamental design, layout, composition, colour, texturing and perspective is present in all three designs, they are all unique upon themselves all done in a different way and style. Blair and Lang are two artists from different times who work in different styles and with different techniques and equipment, some of which I have used or strive to use in my own portfolio. Mary Blair uses simplistic shapes which I use in my own work just in more of a 3D setting. Lang has a more realistic look to his pieces which I strive to aim for in my own work, as well as his main process is digital which is how I primarily work. Lang’s process is

13

also much like my own, mainly the colour palette of which he selects from life and reference images that he works from. In terms of colour I can use vivid colour like Blair but I feel I relate more to Lang on this, as I have a select colour palette for each art piece, of which some might be vibrant or not.

Conclusion

To summarise throughout this essay artists Mary Blair and Ryan Lang have been discussed their process addressed and their comparison to the authors work process.

Comparing both, Lang and Blair, they got offered great opportunities in their lives, first Blair was offered a privileged place at Disney, then Lang got offered one straight from college. The amazing difference in this case is that these opportunities happened 70 years apart.

For this to happen their work must have been of very high value, that it spoke for itself, that one of the biggest animation studios in the world would take a woman in a privileged position during a time that this was unheard of and take a young man straight from college.

All three artists discussed including the author have different titles of which category they fit under but all stick to a similar work flow process, of having to have similar elements running through their designs. Essentially even though the job titles are slightly different their end goals are the same; to create a professional standard art piece which speaks to the audience, to convey emotion, feeling and story.

Both Lang and Blair are well known or greatly appreciated, when it comes to their use of colour, although they are different in the way they use it. Blair is bright, vivid and vibrant when it comes to colour. Lang has a great eye for a good colour palette with his art ranging in theme and story.

Times have changed in terms of how art is now approached as well as the technology that is used. During the historic section it is clear the process is a lot more hands on and messy, trying different things out, battling with the introduction of the multiplane camera but this didn’t take away the hands-on paint processes, so it was more traditional.

Throughout the contemporary section, the more traditional aspects have faded away. With more artists and studios leaning towards digital technology, because it’s a quicker process and easier to fix any mistakes. The modern-day view of traditional and historic art methods within animation, it’s more expensive and time consuming.

In reference to the technological side of creating art within animation, the author fits better within the contemporary artist section working mostly digitally, as opposed to traditionally like Blair. The author uses traditional methods (pens, pencils and sketchbooks), but they still lean more towards the contemporary/digital side of creating art within animation.

Although all three have dealt with learning some form of technology, Mary Blair designed her work thinking of animation cel and the introduction of the multiplane camera. Ryan Lang and the author must deal with digital technology and their constant state of updating and developing, as well as everything becoming more high definition.

Fundamentally through visual development, background art, concept art and more are all still linked into creating a solid piece of art work in which, there is appropriate layout and

14

composition. There is a feeling and mood present with the lighting and colour conveying this. They are all artists no matter what decade or time they are from, no matter what type of technology they are using.

15

Bibliography: 3DTotal., 2015. Interview with Ryan Lang. [ONLINE] Available at: https://3dtotal.com/news/interviews/interview-with-ryan-lang-by-3dtotal-staff-walt-disney-artist-concepts#article-walt-disney-animation-visual-development. [Accessed 16 November 2018].

Annum, G.Y., 2014. Digital painting evolution: A multimedia technological platform for expressivity in fine art painting. Journal of Fine and Studio Art. 4 (1), pp.1-8. [Accessed 17 December 2018].

Bush, E., 2017. Pocket Full of Colors: The Magical World of Mary Blair, Disney Artist Extraordinaire by Amy Guglielmo and Jacqueline Tourville. Bulletin of the Center for Children's Books, 70(11), pp.497-497. [Accessed 5th

November 2018]

Blair, M., 1950. Cinderella Bedroom Design [ONLINE]. Available at: http://magicofmaryblair.com/mary-gallery.htm [Accessed 7 December 2018].

Blair, M., 1959. Mary Blair – Walt Disney's Sleeping Beauty Book Cover [ONLINE]. Available at: http://2.bp.blogspot.com/_0tA5dmNlUGY/S5VVXLh-9sI/AAAAAAAAGeA/oIhNLB6fTsQ/s700/sleeping.jpg [Accessed 30 November 2018].

Chan, M., 2015. Environmentalism and the Animated Landscape in Nausicaä of the Valley of the Wind (1984) and Princess Mononoke (1997. Animated Landscapes History, Form and Function, 5 (2), pp.93-108. [Accessed 17th December 2018]

Clément, T., 2017. The Art of Walt Disney Animation Studios: Movement by Nature. InMedia The French Journal of Media Studies, 6, pp.1-4. [Accessed 16th November 2018]

Designing Disney., 2011. It's a Small World [ONLINE]. Available at: https://www.designingdisney.com/sites/default/files/images/blair/3.jpg [Accessed 13 December 2018].

Earle, E., 1959. Eyvind Earle – Concept Artist for 1959 Sleeping Beauty [ONLINE]. Available at: https://maleficentmagic.files.wordpress.com/2015/03/earle.jpg [Accessed 30 November 2018]

Gabriel., P. 2015. Slick Artworks by Ryan Lang. [ONLINE] Available at: https://abduzeedo.com/slick-artworks-ryan-lang. [Accessed 30 November 2018].

Hoeyng, K., Etyemez, S., McCormick, K., Schilling, M., Phenix, A., 2016. 'Curling, ripples, dimples: Observations from a condition survey of animation cels.' Studies in Conversation, 61, pp.294-296 [Accessed 22nd October 2018]. 10.1080/00393630.2016.1188615

Karwatka, D., 2008. Walt Disney and His Multiplane Motion Picture Camera. Tech Directions, 67 (6), pp.10-11 [Accessed 30th November 2018]

Kurt, S., Osueke, K.K., 2014. The Effects of Color on the Moods of College Students. SAGE Open, 4, 1, pp.1-12. [Accessed 17th December 2018]

Lang, R., 2012. Sugar Rush Candy Cane Forest [ONLINE]. Available at: http://1.bp.blogspot.com/-1aus8cABTk0/UJni2aE1GvI/AAAAAAAABuI/1SGM_8z9bS0/s320/SRweb_004.jpg [Accessed 1 December 2018].

Lang, R., 2014. Big Hero 6 Visual Development [ONLINE]. Available at: http://www.ryanlangdraws.com/3748019-big-hero-6#0

16

Lang, R., 2015. Evangelion [ONLINE]. Available at: http://www.ryanlangdraws.com/3748025-sketches-other#17 [Accessed 30 November 2018]

Lang, R., 2015. Legends of the Guard panel process pt. 1. [ONLINE]. Available at: http://www.ryanlangdraws.com/process#7 [Accessed 1 December 2018].

Lang, R., 2015. Legends of the Guard panel process pt. 2. [ONLINE]. Available at: http://www.ryanlangdraws.com/process#7 [Accessed 1 December 2018].

Munson, K., 2010. ‘Once Upon a Dream: The Art of Sleeping Beauty. San Francisco: Cartoon Art Museum.’ International Journal of Comic Art, 12 (1), pp.515-517 [Accessed 1st November 2018]

Ratelle, A., 2014. 'Kirsten Thompson – “Quick–Like a Bunny!” The Ink and Paint Machine, Female Labor and Color Production'. Peer-reviewed Open Access Online Journal for Animation History and Theory, 9, pp.1-11. [Accessed 23rd October 2018]

Reinhardt, F., 2017. The Digital Paintings of Superstar Concept Artist Ryan Lang. [ONLINE] Available at: https://paintable.cc/ryan-lang-digital-paintings/. [Accessed 17 December 2018].

Schönfeld, C., 2006. Lotte Reiniger and the Art of Animation. Germany: Königshausen & Neumann. [Accessed 17th December 2018]

Shamsuddin, A.K., Islam, M.B. and Islam, M.K., 2013. Evaluating content based animation through concept art. International Journal of Trends in Computer Science, 2(11), pp.818-830. [Accessed 6th November 2018]

Telotte, J.P., 2007. Crossing Borders and Opening Boxes: Disney and Hybrid Animation. Quarterly review of film and video, 24 (2), pp.107-116. [Accessed 17th December 2018].

Wonderland., 2017. Mary Blair, Eyvind Earle And The Origins Of Disney’s Most Iconic Scenes. [ONLINE] Available at: https://gregcookland.com/wonderland/2017/12/03/mary-blair-eyvind-earle-disney/. [Accessed 16 November 2018].

Wreck It Ralph., 2012. Sugar Rush Speedway [ONLINE]. Available at: https://vignette.wikia.nocookie.net/wreckitralph/images/1/1a/Sugar_Rush_Speedwayy.jpg/revision/latest?cb=20130512162015 [Accessed 1 December 2018].

17