Now when we do sculptures for other characters who are organic, human or animal-type characters, the sculpture or the maquette that I produced is more of a document of what they’re actually going to build in the computer. They wanted a slight underbite, just to figure out the mouth.
CARS 2 DISNEY OVERLAY INSTALL
I included this just because he was all figured out and they wanted to put teeth in, so I had to rip off the front end and install some teeth. I think this was the first drawing that led to how McQueen, his end design, I guess. We did a bunch of stuff before we did a sculpt that wasn’t quite working out. This is an early concept drawing of McQueen. I figured I’d just go through a few cars that I like (slide presentation). He actually gave me some tools and sold me some tools that I’ve used here ever since. It was like a warm hug from that guy, because he was laughing at the way I worked. We both had clay in common and by the end of the day, he was making fun of me, which I loved. I don’t know if you know him, I did know who he was before, but I felt like he was just talking to me, because he used to teach car design at the Art Center (College of Design). Between that first one of Luigi and this car, Joe Farrer came and gave us a talk during Cars 1. I included this one just because I like it. Even when I’m stuck in traffic every day, driving here, I look at cars as sculpture. Cars as sculpture, is something that Bob and Jay and John (Lasseter) really opened my eyes to. I drive an F-150 and I’m psyched when it starts.
I had a roommate in college, Jay Ward, who also had a love and passion for everything mechanical, everything cars, so it sort of rubbed off a little. We’ll do another one later.” He never gave me a chance to do another one later. It was under scale and Bob said, “We’re just going to do a real quick test sculpture. I did know what I was doing, this is the first car sculpted, it was Luigi and it was under scale.
I ended up working with both those guys on Cars 1. When I got out of school, I needed a job, so I got my first job on the “The Nightmare Before Christmas” and I was working with Bob Pauley and Bill Cone, who were the guys who hired me here at Pixar. It was that typical ’90s, late ’80s art school hoo-ha. Conceptual art was where I got my degrees at CCAS, and we did a lot of abstract conceptual art. Jerome Ranft – I went to school for just figurative sculpture.
CARS 2 DISNEY OVERLAY SERIES
Clay is an indispensable aspect in the development of the digital figures, and they wouldn’t have it any other way! Here’s part one in AutoDesignO’s two part series featuring Jerome Ranft’s own words on how the magic happens. Actually, the process at Pixar has one man, Jerome, shaping all of the major characters in CARS 3. Jerome Ranft at Pixar will tell you it’s alive and kicking. Is clay modeling dead? It depends on who you ask.
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