The Art of Brave
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Brave is Pixar's thirteenth feature film, but it marks two big firsts for the award-winning animation studio. It's Pixar's first feature film driven by a female lead and its first set in an ancient historical period. Against a backdrop of castles, forests, and highlands, Brave follows the fiery Merida as she clashes with the duty of her royal life and embarks on a journey through the rugged landscape of the dark ages of Scotland. At once epic and intimate, the latest Pixar masterpiece weaves a story of magic, danger, and adventure and the fierce bonds of family.
Featuring behind-the-scenes interviews with the film's many artists and filmmakers, The Art of Brave showcases the gorgeous concept art that went into the making of this movie, including color scripts, storyboards, character studies, environment art, sculpts, and more. A Foreword by Brenda Chapman and Mark Andrews, the film's directors, and a preface by Chief Creative Officer John Lasseter shed light on the creation of this landmark film.
Marker | 2005 Lou Hamou-Lhadj | Pencil | 2009 Steve Pilcher | Pencil | 2006 Steve Pilcher | Digital | 2011 Mor’du is not simply a bear, he is the bear; there has never been anything else like him in anyone’s memory. His size and malevolence far surpass any other animal’s, and few have escaped a meeting with him alive. One of these rare hunters, however, is Fergus, who lost his leg to the monster years ago. Mor’du’s outsized presence inspires fear and hatred, but also a brimming caskful of
Cavallaro, Dana Murray, and everyone else I was fortunate enough to speak with—in particular the effects, sets, sim, and lighting departments. I’ll never think of the pipeline in the same way again. On the publishing side, Emily Haynes of Chronicle Books is a patient soul of brevity and wit. Michael Morris, Jake Gardner, Becca Cohen, Claire Fletcher, Emilie Sandoz, and Beth Steiner all contribute to make Chronicle a great publisher to work with. Glen Nakasako of Smog designed the book’s layout
working with, and over the course of the lunch they asked what I was working on as I’d finished up on Cars,” Brenda recalls. “So I just did an impromptu pitch. It was mainly about the mother-daughter story, and how they didn’t get along, and how one gets turned into a bear—the whole thing. Eventual co-director Steve Purcell was the one who kept leaning forward, listening and asking questions. The next day I found these amazing drawings he’d done of my main character that he’d slid under my door.
herself so it was out of her way, but it was still her.” Shading Art Director Tia Kratter agrees, and stresses the importance of getting the look of her hair just right, which meant surmounting some technical challenges: “This isn’t the first film in which we’ve tried to do really wild hair. We thought about doing that with Boo in Monsters, Inc., but ultimately came back with the pigtails because technically we just weren’t there yet. For Brave, they made the big jump, and it so aptly fits
Pencil | 2007 Steve Pilcher | Digital | 2011 Matt Nolte | Pencil | 2010 “I felt like we’ve seen arguing brothers and sisters before. So we thought, What if Merida and the boys are allies? What if they actually like each other? What if she bribes them with sweets, and what if they’ll do anything for her? They just look up to her—they think she’s so cool.” —Brenda Chapman, director Matt Nolte | Pencil | 2009 Matt Nolte | Pencil | 2010 Huy Nguyen | Digital | 2009 ANGUS Angus, Merida’s horse,