Page 58: "...the design inspirations of Rosas-- Romanesque architecture, Mudéjar ornamentation, and Mediterranean silhouette and color palette..."
Page 77: "Magnifico was originally conceived as an astrologist and alchemist, as well as being the king..." - Michael Giaimo
Page 79: "The glass altarpiece was originally designed as the location where Magnifico perfoms his forbidden magic, but now that takes place in his secret lair...the decision to have an ancient secret lair came very late in production and affected the design of the magic book as well. The lair is an ancient room that Magnifico discovered while doing renovations to his study, so the book had to be ancient too..." - David Womersley, art director of environments
"The dragon motif encircling the gem on the cover of Magnifico's forbidden magic book acts as a subtle bow to Maleficent..." - Michael Giaimo
Page 83:
https://imgur.com/kJ15F6p
Page 99:
https://imgur.com/SKXm8Gf
Page 160: "Right away people asked us, 'Is this film going to be hand drawn?'. It certainly could have been, and we did consider it, but for a film that embraces our past and our future, it couldn't solely be hand drawn. The question became,
How do we achieve something that pays homage to both? That was our challenge to the team." - Chris Buck
"We've had films that started out with a goal of doing something different stylistically, but for various reasons would evolve back to our [photorealistic] CG aesthetic. It was so important for this one to push through. I think the challenge itself, the fact that this had never been done at the studio, is what attracted everybody." - Peter Del Vecho
"In the time I've been at the studio, I've talked to so many artists, and they've always wanted to push the look of our films. So when I heard this film was going to do it, I knew everyone was going to be very excited about it." - Juan Pablo Reyes Lancaster Jones
Page 161: "I started calling our style 'moving illustration,' inspired by Walt Disney's description of" SB "as 'the art of living, moving paintings'... with our use of the CG medium, we can produce moving illustration in a way Walt could only have dreamed." -Michael Giaimo
Page 162: "The team studied illustrators such as Gustaf Tenggren, John Bauer, Kay Nielsen, Arthur Rackham, and Edmund Dulac."
Page 164: "One of the first tests was to see how a CG character would look in 2D. Associate director of cinematography, lighting, Gregory Culp took a real hand-drawn background painting from
Pinocchio and had CG Asha walk through the street. If there was any disconnect...the illusion would be broken."
Page 164:
https://imgur.com/uBsPSpx
Page 165:
https://imgur.com/9VeLRma
Page 166: "The goal was to have the final render look like a watercolor painting with hand-drawn linework...the artists developed a new lighting technique that makes surfaces appear soft and blurred...projected a layer of watercolor paper texture into the scene using a rendering technology developed by Brent Burley specifically for
Wish that could automatically compensate for depth and a moving camera."
Page 169: "We did not use motion blur on
Wish...the frames we draw make it to the screen exactly as we intended them." - Rebecca Wilson Bressee and Wayne Unten, Heads of Animation
Page 170: "On previous films, such as" BH6,
Moana, & RatLD, "we had a live-action style of cinematography." - Rob Dressel, director of cinematography, layout
Page 170: "[for
Wish] the team leaned in to classical animation cinematography, lingering on shots, using longer and wider lenses, and employing multiplane camera zoom techniques. "At first, we leaned too far into embodying the legacy films. [Buck] warned that we don't want people to actually think this is a 2D movie...call back to the 2D, but make it something no one has ever seen."" - Adolph Lusinsky, director of cinematography, lighting
Page 170: 2.55:1 aspect ratio
Page 173: 3 emotional themes: "imagination, status quo, and power and control."
Page 174: using early art of a plaza in Rosas, a multiplane test was done using a camera move based on
Pinocchio.
Page 184:
fabric used in the first wish ceremony (either the first ever or first we see; it doesn't say)= hand-drawn effect
Page 191, wish bubble part: "original hand-drawn effects were created for this film and guided our CG approach." -2D effects animator Dan Lund (I don't know if the bubbles are actually hand-drawn or just the development process included hand-drawn...)
Page 187: "The [water] ripples throughout
Wish were patterned after "The Nutcracker Suite" in
Fantasia..."
Page 189: "Maleficent's green flames, Frollo's hellfire, and Ursula's smoke hands all inspired Magnifico's forbidden magic."
(Head's up to Disney Duster for Pages 192 + 193!)
Page 192:
https://imgur.com/Gd8Jt5R
Page 193:
https://imgur.com/fV5Nocb