Monday, May 12, 2008


As has been stated here before, the background art from LILO AND STITCH is among some of Disney's finest. Compasrison's even to SNOW WHITE are fair... just look at these digitally re-created background paintings.

Look at the woodgrain texture, even wear marks on these stairs, as well as the perspective and use of shadow and light.

Love the tropical flowers and leaves on the left:

Such an interesting design, so real and cartooney at the same time:

This composition of the kitchen and stovetop is incredibly rich in detail. Smoke effects and simmering pot are "digital cel" overlays.

Note the subltlety of the landscape views in the "background within a background."


Sjan Weijers said...

I haven't seen this movie yet, but now that I see this design, I think I will :)
Love the second picture too

Bob Cowan said...

Fantastic backgrounds! I especially like the effort that went into the top background. Someone spent time to look at a real, aged back porch

Unknown said...

I always thought that Lilo & Stitch was one of the more beautifully done animated features of the past few years.

Thanks for the images!

LakShMi said...

I totally loved this film!! Especially the hawaain dance lilo does in the beginning :)
REally like the messy kitchen pic yu got there!! It actually stinks!!!!!

Lauren Sparks said...

haha... troy gustafson did the effects animation on that smoking pot! he became an animation professor after disney fired him. WONDERFUL professor, so passionate! said he smoked a lot of cigarettes for that shot. :)

Christopher Greco said...

This is great to see our BG's high lighted here. That was a fun project to work on and a good crew.
Its hard to remember who painted what but I do remember that I painted the Green Stairs bg.

Lauren - if you see Troy, pass on my "hello"

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ksean said...

Perhaps my favorite film to work on. Have to admit however, that at first the idea of painting in watercolor was very intimidating. After our workshops with Thomas Schaller, an architectural illustrator from New York, we started to see the light. This technique is a very controlled series of washes and not the wet into wet, "happy accident" kind of watercolor that you see in many galleries.

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