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THE ART OF
4
FOREWORD
JOHN LASSETER
O
ne 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 Peter Sohn is one of the most engaging storytellers at Pixar. He wears his
would have happened if the asteroid that brought an end to the dinosaur era emotions on his sleeve, but combines that sincerity with a disarmingly sharp
had missed Earth, and dinosaurs had gone on living? sense of humor. A talented actor who has done voices in several of the studio’s
This question led to many more—How would they have evolved? What movies, he is also extremely perceptive about behavior and personality. All
would that world look like?—and we soon found ourselves thinking about those skills went into shaping and giving truth to the characters in this film.
plant-eating dinosaurs working farms (and, eventually, meat-eating dinosaurs I always say you are what you direct, and you can feel Peter’s openness and
running ranches). The more we dug into the story, about the coming of age of warmth in the characters of both Arlo and Spot.
a young dinosaur who befriends a feral human boy, the more excited we got There is a wonderful simplicity to The Good Dinosaur, a purity of
about the incredible richness of this idea. 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.
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1 2
INTRODUCTION
PETER SOHN
This movie started with a single drawing—a dinosaur with a little boy. The moment we saw They also worked similar magic designing the characters. We always knew we wanted
it, we knew that was the heart of the film, the place where all the electricity was. However, our characters to both appeal to what people love about dinosaurs, and hopefully, surprise
everything else about the story was a mystery. Trying to figure out where those characters them with something they were not expecting. Sometimes finding that perfect combination
came from, what they were going through, and where they would end up has taken many years. was the most effortless process in the world, with characters immediately jumping into three-
From early on, we were drawn to the idea that these two characters had a classic dimensional life. Other characters only slowly came into focus after layers and layers of
“boy and his dog” relationship—but with the dinosaur as the “boy,” and the human as the conversation and countless drawings.
“dog.” We loved the idea of them navigating the world together, learning about themselves Each discovery, though, was only made possible by all the hours and experiences that
and each other, and helping one another grow up. This time of life is intimidating, thrilling, went into the project from its very earliest days. Thank you to all the filmmakers who gave their
and often scary, and we wanted to set their story in a place that would visually evoke the talents to this project at every stage of its existence. This journey could not have been made
challenges they were facing. without you.
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
Photographs Harley Jessup 1, 3, 5, 7
even the largest dinosaur feel small. But you’re also always drawn in by the gorgeous light and Lighting Study Sharon Calahan 2
fantastic details of the changing terrain. The artists on this film have done an incredible job Concept Art Noah Klocek 4, 8
translating the spirit of what we saw there into the world of our story. Storyboard Rosana Sullivan & Louise Smythe 6
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3 4
5 6
7 8
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consistency paradox values wants
family compassion for small/weak not be cowardly stand up and overcome fears
– weak
– gullible
– afraid
farmer optimistic?
– coward
Raptors Poppa's death needs
Arlo Quirks
tail biter
storm Act 1 setup
+
bookworm equivalent
– compassion for small – indoors
– See's the details Dreamer not a Doer – orgainzed
(heroic) – calculative
– makes up stories F - "you wrestled a snake?"
A - "Yep, giant one." – introvert
– "this one time ..." – imaginative
– "You didn't do that," F - "Dont move. There's a chicken right behind you."
A - (curls into ball) GET IT A WAY! GET IT A WAY!
– "no, but I couldve." - no chicken
F - "You didnt wrestle a snake".
A- "no but I couldve"
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wants From
– guarded food what tribe?
– loyal spot a friend – musical
– rough – native american
– wolf
– hungry
– swedish immigrant
The
– gypsy
Dog
– farmer
simple – medicine man
don't need arc
mentor
– though love Questions??
– survial – does spot want a father (There?)
– Arlo gives spot what he can't have? doesn't need?
Spot fills
Arlos void
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Arlo Color Study Bryn Imagire
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Spot Color Study Bryn Imagire
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(above and opposite) Arlo Character Studies Matt Nolte
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13
1 2
Arlo as spot Fashion makeovers
spot as Arlo
4 5
Head butting
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(above) Concept Art Bob Peterson
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1 2
5 7
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Spot Character Studies
Peter Sohn 1, 2, 6
2
Enrico Casarosa 3, 4
Erik Benson 5
Daniela Strijleva 7, 8
4 5
6 7 8
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Spot Character Studies Matt Nolte
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Spot Character Study Peter Sohn
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Spot Sculpt Greg Dykstra
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Lighting Study Sharon Calahan
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(above and opposite) Concept Art Noah Klocek
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25
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The Homestead
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(above) Lighting Study Sharon Calahan, Layout Erik Benson
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Family Color Study Bryn Imagire
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Momma & Poppa Character Studies 1 2
Daniela Strijleva 1, 2
Tom Gately 3
3
1 2
3 4
Young Siblings Character Studies Ricky Nierva (1, 3), Tom Gately (2), Matt Nolte (4)
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Lighting Study Sharon Calahan, Layout Erik Benson
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Babies Character Studies Matt Nolte
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Baby Arlo, Libby & Buck Color Study Jennifer Chang
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Baby Dinosaur Color Studies (bottom left) Rona Liu, (remaining artwork) Saera Hwang
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Concept Art Daniel López Muñoz
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Storyboard Bill Presing
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Set Design Kristian Norelius
Layout Andy Grisdale
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Storyboard Edgar Karapetyan & Domee Shi
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Lighting Study Sharon Calahan, Layout Austin Madison
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Lighting Study Sharon Calahan, Layout Edgar Karapetyan
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(above) Storyboard Adam Campbell
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PROFILE
TRAP DESIGN
TOP
FRONT SCALE
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(above) Storyboard Erik Benson
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50
Concept Art Noah Klocek
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(top) Lighting Study Sharon Calahan, Layout Erik Benson; (bottom) Lighting Study Sharon Calahan, Layout J.P. Vine
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Lighting Study Sharon Calahan, Layout Erik Benson
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Lighting Study Sharon Calahan
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Set Design Huy Nguyen
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Storyboard Alex Woo
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Lighting Study Sharon Calahan
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Set Design Huy Nguyen
58
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Lighting Study Sharon Calahan
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Color Studies (left) Saera Hwang, (center and right) Rona Liu
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Storyboard Rosana Sullivan
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Lighting Study Sharon Calahan, Layout Rosana Sullivan
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Color Script Sharon Calahan
Storyboards Gleb Sanchez-Lobashov
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Prehistoric Insect Color Study Bryn Imagire
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(above) Gopher Character Study Matt Nolte
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73
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Set Design Kyle Macnaughton
Layout Matt Aspbury
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Lighting Study Sharon Calahan, Layout Matt Aspbury
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(right) Prehistoric Snake Character Study Matt Nolte
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Storyboards J.P. Vine
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Storyboards J.P. Vine, (bottom) J.P. Vine & Adam Campbell
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Lighting Study Sharon Calahan, Layout J.P. Vine
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Storyboard Rosana Sullivan
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(above) Storyboard Kelsey Mann & Edgar Karapetyan
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Forest Critters Character Studies Matt Nolte
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Storyboard Edgar Karapetyan
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Lighting Study Sharon Calahan
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(top) Storyboard Rosana Sullivan
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Concept Art Tim Evatt
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(above) Concept Art Kyle Macnaughton
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Lighting Study Sharon Calahan, Layout Louise Smythe
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Concept Art Noah Klocek
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Set Design Noah Klocek, Layout Philip Metschan
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Lighting Study Sharon Calahan, Layout J.P. Vine
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Storyboard J.P. Vine
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(top) Storyboard Domee Shi
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Pterodactyls Color Study Bryn Imagire
Design Matt Nolte
3D Model Lou Hamou-Lhadj
106
Set Design Kristian Norelius, Layout Matt Aspbury
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Storyboards Dean Kelly & Bill Presing
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T-Rex Character Study Matt Nolte
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(above) Butch Sculpt Greg Dykstra
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111
Bisodon Character Studies 1
Peter Sohn 2, 5
Matt Nolte 1, 3, 4, 6, 7
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Bisodon Color Study Laura Phillips
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Lighting Study Sharon Calahan
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Storyboard Austin Madison
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Butch & Velociraptors Character Study Matt Nolte
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Velociraptor Color Study Bryn Imagire
Design Matt Nolte
3D Model Lou Hamou-Lhadj
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T-Rex Character Study Matt Nolte
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Velociraptor Character Studies
1 2
Matt Nolte 1, 2, 4, 5
Ricky Nierva 3
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Set Design Kristian Norelius, Layout Matt Aspbury
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Lighting Study Sharon Calahan, Layout Ricky Nierva
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Storyboard Rosana Sullivan
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Lighting Study Sharon Calahan
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Storyboard Valerie LaPointe
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Concept Art Huy Nguyen, Layout Valerie LaPointe
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(top) Storyboard Kelsey Mann
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Concept Art Daniel López Muñoz
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Lighting Study Sharon Calahan, Layout Erik Benson
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Set Design Kristian Norelius, Layout Matt Aspbury
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Storyboard Domee Shi
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Lighting Study Sharon Calahan, Layout Matt Aspbury
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(top) Storyboard Rosana Sullivan
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Set Design Garrett Taylor
Layout Matt Aspbury
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Concept Art Huy Nguyen
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Storyboard Thumbnails Bill Presing
spot
(howl)
6 vururos(l bumed)
SMASH Spot dodges down as a Ptero smashes at the tree trunk
to get him.
PTEROADACTYLS
(walla)
PTEROADACTYLS (CONT'D)
(growls, hissing)
ARLO
(shiver, nervous)
All but the burned Ptero fly at Arlo. She stays at the tree,
Boards in Face.
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!
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Storyboard Rosana Sullivan
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Color Study Laura Phillips, Set Design Kristian Norelius
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Set Design Kristian Norelius, Layout Matt Aspbury
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Set Design Kristian Norelius, Layout Matt Aspbury
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(top) Lighting Study Sharon Calahan, Layout Erik Benson & Rosana Sullivan
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(above and opposite) Lighting Study Sharon Calahan, Layout Andy Grisdale
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153
Human Family Character Study Matt Nolte
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Human Family Color Study Bryn Imagire
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(above) Storyboard Rosana Sullivan
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157
158
Set Design Huy Nguyen &
Kristian Norelius
Layout Andy Grisdale
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(top) Storyboard Dean Kelly
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Set Design Huy Nguyen, Layout Andy Grisdale
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Lighting Study Sharon Calahan, Layout Andy Grisdale
162
Jump opening-ride+ simple Coming back new nal so much nostalgia
sheet1
sheet 2
52 hts met alking care f jung plast never joinendg? strug ling don't an face tight an moumer
Storyboard Thumbnails Rosana Sullivan
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(above) Storyboard Rosana Sullivan
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Set Design Huy Nguyen, Layout Philip Metschan
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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 Library of Congress Designed by Jessi Rymill Chronicle Books LLC ARTIST CREDITS
Disney Enterprises, Inc. and Cataloging-in-Publication 680 Second Street Cover: Follow the River Concept Huy Nguyen, Layout Robert Kinkhead
Pixar Animation Studios. Data is available. San Francisco, California 94107 Half-Title Page: Graphic on 3D Model Bryn Imagire
www.chroniclebooks.com Color Script Layouts: Erik Benson, Adam Campbell, Edgar Karapetyan,
All rights reserved. No part of ISBN: 978-1-4521-2220-5 (hc) Dean Kelly, Austin Madison, Kelsey Mann, J.P. Vine, Bill Presing, Gleb
this book may be reproduced ISBN: 978-1-4521-4756-7 (epub, Sanchez-Lobashov, Louise Smythe, Rosana Sullivan
in any form without written mobi) This Page: Spot Character Study Peter Sohn
permission from the publisher. Next Page: Baby Arlo Character Study Matt Nolte
Back Cover: Concept Art Kyle Macnaughton, Layout Rosana Sullivan
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.
Cloudy, and was a story artist on the Academy Award®–winning features Finding
Nemo, The Incredibles, and WALL•E.
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