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Kiowa County Signal - Kiowa County, KS
by Garon Cockrell
Check Out Some Wreck It Ralph Concept Art!
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March 7, 2013 5:05 p.m.





























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THE ARTISTRY AND INFLUENCE OF VISUAL DEVELOPMENT








Meet the visual development artists that helped conceptualize the video game worlds and gaming characters in Wreck-It Ralph.

Learn about the research that went into creating the look of this film –

from game playing to unexpected trips – and the unique ways these

artists found to showcase their ideas. We talk to Mike Gabriel, Art

Director; Ian Gooding, Co-Art Director; Lorelay Bove, Visual Development

Artist; and Cory Loftis, Visual Development Artist, to bring you the

lowdown…








LEVEL ONE: A GENERAL BACKGROUND TO WRECK-IT RALPH








Art Director Mike Gabriel reveals: “Wreck-It Ralph is

a completely unique film. I get the feeling it’s one of those movies

that a lot of other animation studios are going to see and say, ‘Why

didn’t we think of that? Why haven’t we put more than one simple, little

world in a movie?’ The way that kids today click around devices and

multitask, it’s seems ridiculous to think about trying to give them an

hour and a half in one simple world. Why not let them jump into a new

world every 20 minutes? That’s what we do with this movie. It’s a

different experience for the audience, and it’s exciting.”








THE SHAPE LANGUAGE OF THE MOVIE…




Mike Gabriel continues: “There are various different game worlds in Wreck-It Ralph. There is the 8-bit world of Fix-It Felix, Jr.; there is the first-person shooter game, Hero’s Duty; and there’s the candy-kart racer game, Sugar Rush.

For each game, we wanted to create a distinct world that’s different to

the other worlds, so we put distinct shapes in each one. Niceland [the

world of Fix It Felix, Jr.] is based on squares that make it feel very solid and rigid. In Hero’s Duty, we wanted Ralph to be scared, so he gets thrown into this violent world of diagonals with a triangular-shape language. Sugar Rush is cute, benign and childlike, so if you look closely there are circles everywhere.”








GAME ON…




Visual

Development Artist Cory Loftis adds: “Before I moved to Disney, I

worked at a video game company. Whenever they were trying to figure out

what type of video game they were going to make next, everyone would sit

around and discuss ideas. They would say, ‘We want vampires. We want a

Tyrannosaurus Rex. We want a magical bear in a top hat. We want

soldiers. We want princesses.’ They wanted all of these random things,

but I remember asking what they all have in common? One guy said, ‘They

are all awesome. That’s what they have in common.’ I think that’s very

true for this movie, too. There’s such a great variety, but the unifying

thread is the fact that all of the worlds and characters are awesome.”








LEVEL TWO: THE CREATION OF THE WORLD OF FIX-IT FELIX JR.








Co-Art Director Ian Gooding explains: “Fix-It Felix, Jr.

is an 8-bit world from the 1980s, and at first I thought it would be

simple to create, but it turned out to be very challenging – in a fun

way. How do you design something that shows that real people live here

but at the same time shows the technical limitations of processors in

the 1980s? That was the challenge.”








LIVING IN THE 8-BIT WORLD…




Ian

Gooding continues: “The one thing that John Lasseter kept rubbing in is

you have to celebrate the 8-bit as much as you possibly can in this

world. Whenever we didn’t jump on an opportunity, he would notice it and

say, ‘That’s not right here.’ It was fun to squeeze as many

square-centric, 8-bit things you can into one environment and still have

it look sophisticated, believable and fun.”








A PASSION FOR FASHION…




Ian

Gooding reveals: “We had a lot of fun dressing the [Niceland]

characters of this world. When you take something very sophisticated and

tailor it with little hats and brooches, and you put it on these funny

little people, it becomes hilarious. The more serious you get with the

clothing, the funnier it becomes. They dress 80s-centric because that’s

their era and they think that’s really cool. Again, really cool and

serious becomes funny when you scale to the people of Niceland.”








LEVEL THREE: THE CREATION OF THE WORLD OF HERO’S DUTY








Visual Development Artist Cory Loftis reveals: “For Wreck-It Ralph, I worked on the world of Hero’s Duty.

In the very beginning, Mike Gabriel came into my office and he gave me

some ideas to think about before I started designing. First and

foremost, he explained that Hero’s Duty needed

to feel like a real first-person shooter game; it needed to feel like a

legitimate sci-fi shooter. I always kept that in mind when I worked on

the design.”








A TRIANGULAR TECHNOLOGY…




Cory Loftis continues: “Hero’s Duty had

to have that really strong triangular-shape language that Mike

mentioned earlier, so I tried to pack as many triangles into the design

as possible. The whole tower design is a big inverted triangle stuck

into this planet. The windows are triangles; the decals are triangles;

even the dust and debris that’s floating around in the air are

triangles. Everything is sharp and angular.”








A WHOLE NEW WORLD…




Cory

Loftis adds: “I watched a lot of sci-fi movies growing up. All of the

movies I really liked had one thing in common about the design of the

technology featured in them: the spaceships, robots and hi-tech things

weren’t made of sleek materials. They weren’t glossy or shiny. They were

rough; they were bolted and riveted together; they had hoses and vents;

stuff leaked, metal rusted and paint was chipped. I tried to take this

idea along with the triangular shape language to create this unique

world; not just in the tower and the planet itself, but also into the

props and characters that are in Hero’s Duty.”








LEVEL FOUR: THE CREATION OF THE WORLD OF SUGAR RUSH








Visual Development Artist Lorelay Bove reveals: “When we first started working on Wreck-It Ralph,

we wanted to create a candy world that was new and different to

anything we’d seen before. I’m originally from Spain and I’ve always

loved Antoni Gaudi and his modernist architecture. When I was little, I

thought his architecture was made of candy. That’s where the idea came

to use this modernist architecture movement and mix it with candy to

make our own world and our own style.”








SPANISH DELIGHTS…




Lorelay

Bove continues: “We took a research trip to Spain to study the shapes,

rhythm and patterns of the architecture of Gaudi and it seemed to fit

our new world perfectly. But we did not directly copy Antoni Gaudi or

the modernist architecture; we just caricatured and made it a new,

distinct world. Alongside the trip to Barcelona, we also took a research

trip to the world’s largest candy convention in Germany. It was like

the Comic-Con of candy, and we took lots and lots of pictures for

reference.”








SWEET LIKE CANDY…




Lorelay Bove adds: “If you look at the world of Sugar Rush,

you’ll see the circular shape language everywhere; there are circles

all over the place. Plus, everything is sugar coated; even King Candy’s

castle. When it comes to the citizens of Sugar Rush, [Wreck-It Ralph director]

Rich Moore had the idea of using Japanese Harajuku girls as an

inspiration because they are so unique. It worked really well,

especially with the Japanese candy we found along the way.” 






















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