Head of Animation Lino DiSalvo Talks Art of Frozen at Walt Disney Family Museum


Hello Readers!
Here is a repost of an article I wrote for the Women in Animation San Francisco Chapter Blog. You can find out more about our organization by visiting

Happy reading!

Enthusiasm for Frozen was palatable at the sold out Frozen: Art of Animation talk Friday night at the Walt Disney Family Museum. Lino DiSalvo, head of animation for the film and a Disney vet with over 15 years of experience at the company, led the audience on a fantastic and sometimes harrowing journey through the process of creating Disney’s 52nd animated feature film.

A Musical for Even Non-Musical People

“We watched every musical ever created,” DiSalvo said with a laugh as he chronicled the storytelling process. “[And] I started this journey hating musicals.”

It wasn’t the music he hated. DiSalvo grew up on classic Disney musicals and loved film. It was the “yearning look into the horizon” that truly bothered him.
He, along with the many other individuals who enabled the film to become a reality, wanted something more heartfelt for their heroines and the other characters.

He wanted the emotion of the characters to be so organic that they could not help but sing. “The scenes that worked in these films with singing, [there was] no other way for the character to convey the emotion they felt,” said DiSalvo. The dynamic duo of Tony Award winning scribes Kristen-Anderson Lopez and Robert Lopez enabled that vision to become a reality.

“They were awesome,” said DiSalvo.

Adventures in Compelling Storytelling – Elsa’s Journey 

Two of the other great challenges when creating the film were crafting the story and dealing with a tight production schedule. The Snow Queen remained on Disney’s radar for years, but it was not until Chris Buck and Jennifer Lee signed on as directors and Lee hemmed the version of Frozen that is now in theaters that the film truly clicked. One of the toughest parts was getting the story right. Their goal was to create a compelling narrative devoid of cliché. One major issue was that Elsa, the snow queen herself, played too much like a villain. This made it difficult for the staff to want to root for her by the end of the film.

“It’s a 90 minute film and you want to like the characters,” said Wayne Unten, supervising animator for Elsa. “To get her to the mountain top for ‘Let It Go’ you have to show what she’s been through. The villain part wasn’t working.” The story came together when Lee showed the staff the bond that needed to exist between Elsa and her sister Anna, and how that bond would ultimately save them.

“The film is family love, not romantic love,” said DiSalvo, crediting Lee with bringing to light the theme of the film. “Everyone in the room said that’s the film we have to make.”

To further illustrate the importance of this point, the directors held a “Sister Summit,” said DiSalvo, where every woman on the team brought in their sister to sit and talk about what it was like living with a sister. This provided a wealth of information to everyone on the crew and helped solidify in their minds the type of relationship they wanted Elsa and Anna to experience.

Time Waits For No One 

Another major challenge was the release schedule. Originally slated for a 2014 release, the studio made the decision to release the film a year early in order for Frozen to be released for the Thanksgiving season, and to give Disney’s next animated release, Big Hero 6 a chance to shine during the following holiday season.

“When we went from 14 to 13 everybody freaked out,” said DiSalvo. “When we calmed down, we figured out how we were going to do this.” They succeeded in finishing the film by being efficient, said DiSalvo, solidifying the story, making solid acting choices, and overall working with some of the most talented individuals in the industry.

Life at Walt Disney Animation Studios 

Audience members got a rare look into the inner workings of the Disney studio in Burbank, including photos of the story room, animator’s offices and the coup de resistance, a giant ‘A’ where animators who have completed their first film sign their names alongside revered Disney veterans like Glen Keane.

“The building says animation but it should say collaboration because that’s what we do,” said Unten.

DiSalvo explained the process of filmmaking at the studio, starting first with the three touchstones of what Disney strives for in all of its films: compelling stories, believable worlds and appealing characters. He also touched on five aspects of the making of Frozen that were crucial during the visual development, story and animation processes. These five enabled the artists to stay true to the character of the film and create a compelling story.

Truth in Acting 

“Truth in Acting, “ said DiSalvo, “was the most repeated phrase during the entire production.” Disney brought in an acting coach who helped the staff delve into what defined each of the characters on screen. This included imagining the lives of the characters before and after each incident in the film. By pulling the bits and pieces from the characters lives, the artists were then able to achieve a stronger emotional core for Elsa, Anna and the other characters.

Along with working with an acting coach, the staff also hosted “Inside the Actor Studio” sessions with the voice actors, taking notes and recording how they sang so they could infuse the same level of resonance and emotion in the animated characters. The acting sessions with the acting coach along with working closely with the voice actors, as well as the animators acting out and thumbnailing character moments themselves, allow the heroines, heroes and villains of the film to be fully fleshed out characters instead of caricatures.

Casting and the Emotional Crescendo Board 

The film crew created a “crescendo board,” said DiSalvo, a literal board mapping out the conflict and resolution of every scene in the film. This allowed them to track the highs and lows experienced by the characters so that they could build to pivotal sequences in the film without giving away too much information early on. It was crucial to follow the board to ensure that the artists build up the character to a specific emotion.

“The goal is believability,” said DiSalvo. “We don’t want it to be real. We want it to be believable.”


Every film requires hands on research, especially one set in a world of snow and ice. Disney sent the animators to Wyoming to explore what it would truly be like to live in a snow-covered kingdom. This led to crazy scenarios, including the animators tromping around in full length wool skirts to see just how difficult it would be for Anna to maneuver around. They also held races in the snow and soon discovered that it is incredibly difficult to run in knee-deep snow without falling on your face.

Hand-drawn and CG Tests 

Collaboration with hand drawn artists, according to DiSalvo, is one of the most fun things about the film-making process.

The story team, visual development artists and animators worked closely together to flesh out the character arcs of the characters in the film. Among the many artists who helped flesh out the characters were Bill Scwab and Jin Kim, who DiSalvo credited for helping to bring some of the great expressions of the characters to life.

Elsa character designs by Jin Kim


Anna character designs by Jin Kim

The animators then went on to create screen tests to show the emotional range of the characters. These tests were later used as teaser trailers, including the ones below for Elsa, Olaf, Kristoff and Sven.

Acting in Animation 

“If you can capture that little truth you’re on your way to something honest there,” DiSalvo said about the acting process. Each day the animators gathered in a room to watch the dailies, where the supervisors and directors watched their shots and gave notes. It was in dailies where DiSalvo and the team could analyze the acting, subtext and gesture of the characters to make sure that they flowed well within the story. “As animators we flesh out what the character is thinking and feeling,” said Unten.

“If there’s no heart behind the animation, then you’re just animating for the sake of animating,” said DiSalvo. For this reason the analysis went beyond the typical animation critique, which often focuses more on mechanics, such as fixing pops and improving arcs, and more about the acting.

Bringing the Characters to Life 

The high attention to acting and drama paid off for one of the most pivotal turning points in the film, the ‘Let It Go’ sequence, when Elsa transforms from Queen of Arendelle to the Snow Queen herself. Unten spent five weeks animating the sequence, spending his days supervising his animation team and his nights animating the sequence.

“Each of us has different methods,” said Unten, “but the goal is the same, to create amazing characters.” His method included watching recording sessions with Tony award-winning actress and voice of Elsa Idina Menzel, acting out expressions himself, thumbnailing his ideas, animating the sequence, receiving notes from COO of Walt Disney and Pixar Animation Studios John Lasseter, and animating again. It is a painstaking process, but one deserving of the time.

“It’s not just a music video, every line means something,” said Unten.

Parting Words 

The evening ended with DiSalvo and his team fielding questions from the eager members of the audience, who included everyone from students and professionals to small children.

DiSalvo gave a particularly good piece of advice to students, who are often inundated with cynicism from the industry.

“These movies are a hard journey,” said DiSalvo, and he credited the talent of his staff for making Disney a great place to work and make films.

“I think Frozen is a great example of artists believing in each other,” said DiSalvo.

And it is this belief that will continue to inspire future artists and animators the world over.

Special thanks to Walt Disney Animation Studios, the Walt Disney Family Museum, Head of Animation Lino DiSalvo,  Animator Amy Smeed, Animation Supervisors Wayne Unten and Jason Figliozzi and Walt Disney Animation Studios Director of Talent and Development and Outreach and Women in Animation Secretary Dawn Rivera-Ernster for this excellent event.

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Drawing for Features Storyboarding ANM 372 Week 1: Life Drawing

Academy of Art University, ANM 372, Figure Drawing, Life Drawing, Storyboard Class, Storyboarding, Storyboards, Uncategorized

Hello good webizens! Today I am showcasing my second storyboarding class, Animation 372: Storyboarding for Feature Animation. That’s right, this semester I am taking not one, but two storyboard classes. I am exceedingly pleased with this semester. As a storyboard major, I am finally taking the courses most interesting to me: STORYBOARDING. For FILM no less. Although both of my courses have to deal with storyboarding for feature animation, I am learning some different things in each one. And each of my excellent professors has their own unique way of teaching.

Disney, ILM and Pixar artist Tamara Lusher-Stocker teaches this course. Her filmography includes The Lion King, Home on the Range, Dinosaur, Treasure Planet, and Escape from Planet Earth.

On our first day of class she introduced herself, then the five of us (that’s right, only five students – stellar! Personal attention!) discussed our goals. Everyone in our class is a storyboard major and three of us will soon graduate, so we will be able to showcase our thesis project during the class.

For our first class, we discussed some of the similarities and differences between boarding for TV, live action and feature animation.

TV Animation

As everyone who has ever watched the credits of an animated program knows, most TV animation is not actually animated in the states. For this reason, storyboard artists must be extremely precise. The boards are often used by overseas animators as key frames for their animation, so accuracy is a must.

Live Action

Live action boards serve as a blue print for complicated shots. You want to make sure that the angle of that explosion looks just right before the truck drives under the bridge you’re going to blow up. The point is to give the director exactly what they’re looking for, to draw realistic characters, and often arrows are shown to where the action is going (although I hear this is starting to go away since most everything is put into an animatic now).

Feature Animation

You’re creating the entire film with boards and making a story reel, or animatic, that will show exactly how the movie will be played. No arrows here.

Most importantly one should draw loose and communicate quickly. There’s no time to noodle boards to make them beautiful. You’ll be drawing way to many of them to get attached to any one in particular.

Like in Kristen’s class, we also discussed Joseph Campbell’s The Hero’s Journey (seriously, read this book. It explains A LOT and you’ll find how many of your favorite films use the formula pretty accurately). We also discussed stereotypes, empathy, acting, and the importance of using a strong silhouette.

We practiced modeling and drawing each other in preparation for our homework.

Here are my drawings of my classmates:

Classmate 1 Classmate 2

Classmate 3

Next we watched interesting clips from The Incredibles and Monsters Inc. in order to get a better sense of character design and structure. Then we tried our hand at drawing our own crazy creatures.

Trying out different ideas, I thought of the idea of something cute and squat with glasses.

Trying out different ideas, I thought of the idea of something cute and squat with glasses.

Working off the original idea, I made my monster girl a little bigger and made her into a workout junkie.

Working off the original idea, I made my monster girl a little bigger and made her into a workout junkie.

Expanding on the theme, I made her even taller, and decided that she enjoyed swimming.

Expanding on the theme, I made her even taller, and decided that she enjoyed swimming.

My last sketch, I gave her a 50s retro swim suit and gave her the lifelong ambition of being on the swim team -- in spite of her flaming hair.

My last sketch, I gave her a 50s retro swim suit and gave her the lifelong ambition of being on the swim team — in spite of her flaming hair.

Finally, we took our last model and were encouraged to tell a story with the character, making the model into some type of creature.
Here are my three processes:

The Original Sketch with a little newt added for fun.

The Original Sketch with a little newt added for fun.

I turned the character into a witch and moved the newt so that he became an unfortunate prince floating in the air.

I turned the character into a witch and moved the newt so that he became an unfortunate prince floating in the air.

A cleaned up version of sketch two with a little more detail.

A cleaned up version of sketch two with a little more detail.

For our first homework assignment, Tamara instructed us to draw three life drawings of a single person from life, five drawings of them participating in an activity, three head studies, and one drawing of them on the phone. She encouraged us to pick someone fascinating, as our first storyboard will revolve around this character.
You’ll see who I chose in Week 2.

Bon Nuit!

Ty Carter – Viz Dev Extraordinaire, Art Giveaway!


Yes that’s right folks – he’s giving away art for the holidays. And it’s good stuff.
I had the great pleasure of meeting Ty at CTN. Super nice guy and very talented. Currently he’s working at Blue Sky Studios as a Viz Dev artist and is working on next year’s action adventure flick Epic which let me tell you, is aptly named.

Check out the trailer here.

And you can check out the deets of the contest here.

Good luck everybody!

Best aspects of childhood combined: Wreck-It Ralph


Saw “Wreck-It Ralph” today before the big trip to CTN. It combined two of my fondest childhood memories, watching cartoons and playing video games. It is apparent from the 8-bit Mickey Disney Animation Studios logo to the beginning sequence of the film that director Rich Moore and crew deeply respect and appreciate the games of yore as well as today’s more modern fare. Seriously though what got me super excited about seeing the movie was this guy:

courtesy Forbes.com

Sonic and I go waaayyy back. We’re talking back in the days when 16-bit technology blew your mind. I spent hours playing this game, and seeing not only one of my favorite video game characters, but one of my favorite characters PERIOD on screen was a delight.

There are some amazing works of animation in this film. The way the characters moved astounded me. Animation is all about the illusion of life, but the detail they put to the illusion of 8-bit life was nothing short of impressive. The citizens of Fix-It Felix, Jr. MOVED the way you would expect game characters to move. Clyde the ghost from PacMan hovered exactly how he does in the real game. Qbert is Qbert.

The story surprised me as well. I was not expecting something as heartfelt, particularly the ending, which was “Iron Giant”-esque in its emotional impact and nearly caused me to shed a tear. There is a definite trend in movies towards rooting for the anti-hero, the guy who may be on the side of bad but perhaps is not a bad person in and of themselves. It reminded me of “Megamind” – is he truly evil, or does he just want love? And it is not false emotion either. As we journey with Ralph we understand his reasoning to the point where we want him to succeed, even though that may cost him everything.

The time spent in Sugar Rush seemed longer than I would have liked, and Sarah Silverman was a little hard for me to get used to, as I am not too familiar with her comedy. But even she won me over in the end. In fact all of Sugar Rush won me over. It needs to become an actual thing. I would buy that game.

In terms of the plethora of animated films I had the supreme pleasure of watching this year, I give it a solid B+, right behind “ParaNorman,” which I believe should win Best Animated Feature this year.

One thing that “Wreck-It Ralph” did that some other films I saw did not this year was truly inspire me. I am working on a collaborative film for my thesis project, and seeing the what can be done in animation today is fantastic. So many different types of stories have been told just this year, and I am excited to add to the pantheon of films.

The Force is strong with them


My friends and I attended a fantastic 3D screening of ParaNorman at ILM this afternoon. Great film and great studio. What I liked most about it, and what I’ve noticed about animated films now, is how much they are using the film language of live action pictures. The film was filled with the type of cinematography that one usually sees in live action horror movies. Expertly done with a wonderfully heart-wrenching story. Well done, LAIKA.

I’m back!


I have returned. As it turns out, all of Blogger’s photos are actually stored on Picasa and after six years of running my blog I had used up all of my photo storage space. I’d been wanting to try out a WordPress blog for some time now and Blogger’s lack of space propelled me to make the switch. So thanks Blogger! You were good to me for years but now it’s time to move on to greener pastures.

Sketch Blog


So after posting last week I realized that I mainly draw characters standing perfectly straight.

But animation is all about movement. So this week I began to draw characters in various other positions. My good friend returned from Japan with several anime books for me, so I am teaching myself how to draw in that particular style. I am more impressed though with the various poses in the book, three of which are shown here.

And fear not – Alex Pariah will return soon.

Return of the fox


So after waiting on Sunday for my coworker to show up with my new monitor
(which never happened) and after having problems with my roommate’s scanner (grr) I became thoroughly frustrated by this whole mess. Why did my laptop die after four short years?

Fortunately, now the scanner/printer is operating again so I can now resume with my weekly blogging. I am currently working on page 4 of “Alex Pariah,” but while you wait, enjoy some of the sketches that I crafted in the interim.

As you will see, it takes many drawings to flesh out an idea of what a character should (or should not) look like.