Pixar Animation Studios, the Academy Awardwinning creators of Toy Story, Toy Story 2, A Bugs Life, and Monsters, Inc., are bringing a new animated movie, Finding Nemo, to the screen this summer. This visually stunning underwater adventure follows eventful and comic journeys of two fish-a father and his son Nemo-who become separated in the Great Barrier Reef. The underwater world for the film was conceptualized and developed by the creative team of artists, illustrators, and designers at Pixar, resulting in a lush landscape rich with detail. The Art of Finding Nemo celebrates their talent, featuring concept and character sketches, storyboards, and lighting studies in a huge spectrum of media, from five-second sketches to intricate color pastels. This behind-the-scenes odyssey invites the reader into the elaborate creative process of animation films through interviews with all the key players at Pixar. There will be childrens books related to Finding Nemo, but no adult titles other than this definitive volume. Revealing, insightful, and awesomely creative, The Art of Finding Nemo will delight film-goers, artists, and animation fans alike.
978-0-8118-3975-4 (hc) ISBN 978-1-4521-4748-2 (epub, mobi) Designed by Laura Lovett Typeset in Foundry Sans Chronicle Books LLC 680 Second Street San Francisco, California 94107 www.chroniclebooks.com Mark Whiting acrylic, 83/4 x 61/4" [Contents] Forewords Introduction 1 : LEAVING HOME 2 : THE BIG BLUE 3 : THE TANK AND HARBOR Pixar’s Acknowledgments Author’s Acknowledgments About the Authors Mark Whiting acrylic, 51/4 x 31/4" Mark Whiting acrylic, 51/4 x 31/4" Mark Whiting
because it was the first computer generated feature film, and was unlike anything anyone had ever seen. There are so few times in life when we can truly say we're experiencing something we've never seen before, but I think Nemo will have that kind of impact. There are details I wasn't expecting, like the way light filtered through the water, the surges and swells that buffet the characters, the tiny floating particles. Our audience will truly believe they're underwater with the characters. Lee
the hat and a low bow to Chronicle editor Sarah Malarkey, for bringing me aboard, and to Anne Bunn, for expertly handling all the usual logistics. And here’s a shout out to Victoria Shoemaker, my literary agent. Hugs and kisses to my parents and to my godchildren, Johnny and Alexandra. Mark Cotta Vaz line art by Jason Deamer Peter Sohn storyboard pen and marker, 41/8 x 21/2" about the authors John Lasseter is Pixar Animation Studios’ executive vice president of creative and is a two-time
led the screenwriting team of Toy Story 2, and helped write and executive produce Pixar’s latest film, Monsters, Inc. He is currently the writer-director of Finding Nemo. Mark Cotta Vaz has authored thirteen books. Most recently he wrote The Invisible Art: The Legends of Movie Matte Painting (Chronicle Books).
through. So, when I was painting, there’s an inner surface and then another surface. I’m trying to get that information, but the second you take that concept into 3-D and light it or start animating, things change. From concept to CG, [a] single jellyfish will be seen in about ten different ways, so there has to be some room between what you design in 2-D and the color, light, and depth of field in 3-D. Robin Cooper shader art director Jeff Richards acrylic, 91/2 x 14" Bruce Zick pencil, 11 x
