This Portfolio is composed of backgrounds stills and layout studies, storyboardings, my own animated characters (and others from exercises of well-known characters), anatomy drawings, digital and organic colour techniques. I also included some drawings from my childhood, namely, the ones drawn in my amateur years.
Exercises on full animation
Kim’s pencil test. (c)Disney
Horse head rotation
Exercises on cut-out animation (done using Adobe Flash CS5)
“Super Pituca”, digital Flash (cut-out)test – (c) Rafael Saint-Clair Braga, 2012 – all rights reserved.
Pituca greeting her bossy boss. Rafael Saint-Clair Braba (c)2012. All rights reserved.
Pituca picks up the Magic Soap
Pituca’s body rotation.Rafael Saint-Clair Braba (c)2012. All rights reserved.
Miss Niece: the grumpy and bossy boss. Rafael Saint-Clair Braba (c)2012. All rights reserved.
Pencil test of Pituca’s Body Rotation – Rafael Saint-Clair Braga c) 2012. All Rights reserved.
“Super Pituca”, first pencil test – (c) Rafael Saint-Clair Braga, 2011 – all rights reserved.
BACKGROUNDS AND LAYOUT
STILL: The living room: background still built up with Adobe Photoshop CS6. (c) 2013, Rafael Saint-Clair Braga. All rights reserved.
Some story-boards samples. (c) 2013, Rafael Saint-Clair Braga. Copyrighted material.
Oil on Canvas
Organic (On real Canvas)
It seemed a real pregnancy. This huge canvas demanded nine months. Most of the moments were loaded with inspiration, although impatiency, many moments in which I found out myself really bored and also chalenging moments (mostly of then trying to reproduce the real texture of mountains and capture the aspects of our rainforests). This is the view from “Vista Chinesa” (Chinese viewpoint), where, despite its name, all the city, Sugar Loaf and its vicinities can be contemplated altogether with the high buildings. The saturation is quite beyond of what its required as I decided to let these series of Canvas with the same aspect of animated movies. My client, who ordered this, is eager to have this piece delivered. Now, this Canvas will be properly framed. I speacilly thank my client who was very patient and comprehensive with me throughout these almost a year and a half of working (since the first plans, rough sketches, plans and the reach of a fair budget).
This is an emulation of one of Disney’s 1951 “Alice in Wonderland”. As this is the first one, believe me there are some “imperfections”. So, it is not on sale. It took 4 months to make (August-December). Actually, the final touches were done today! So, the painting is ready in a very perfect day! December 21st, 2012. It was a step by step process. First: If you work on a big Canvas like this one, you usually divide in as many square areas as possible in order to facilitate the underlying rough drawing in which you start the first brushes. This first experience was wonderful for me because I could feel how the oil works! How the oil dissolves in order to achieve that colour you want! Furthermore, the capacity of recreation in Oil technique is quite something! While in Aquarela and Gauche, and mainly in Acrylics, you have to brush all in a hurry, working with Oil is quite different. The ink lasts days to dry! So, you can work on it on and on and on, improving texture and the spectrum and the degree of colours! I hope this very first painting can be the one of many works to come!
Estudo de Ilustração (técnicas orgânicas)
Disney’s (Alice’s flowers): Técnica mista (Guache, acrílica e pastel. Retoques de detalhes em nankim)
Técnica emulando aquarela chinesa.
Técnica em pastel seco (Pastel technique – Finding Nemo 2002, from “The Artbook of Finding Nemo”, (c)2002 – Disney-Pixar).
Emulating Disney’s 1951 “Alice in Wonderland” – Oil on Canvas (August-December, 2012)
Estudo de Layout de personagens
Super Pituca: first sketches, 2011 Super Pituca: First doodles, 2011
Pepe Le Pew: final version and the correspondent doodle.
Mouth, different perspectives, 2011 Executive, 2011 Widow, 2011
Drawing Mickey Mouse in different expressions, 2011.
Golden Retriever: structuring dog’s layout
Cat, studying layout, 2011
Super Pituca: studying layout, 2011.
FASE EM DESENHO AMADOR (1990’s Ilustrations)
Célula em papel: Sailor Moon (1996)
Desenho em papel: Sailor Vênus (1996)
Cenários (Background Scenes) e desenhos em acetato
Marilix in her palace (1997): acetato aplicado em cenário fixo.
Blitz and his mates (1998): acetato aplicado em cenário fixo.
Blitz (1997): acetato aplicado em cenário fixo.
Frames não finalizados em lápis
Célula em papel sulfite (1998): correspondente a aplicada em acetato acima.
sequência de célula em papel sulfite (2001): A7
sequência de célula em papel sulfite (2001): A8
Caricaturas feitas em lousa branca e lápis
Mom’s pic (2008) Sister’s pic (2007)
Brother’s pic (2007) Rhufy’s pic (2007)
A Friend’s pic (2007) Mom’s cousin pic (2008)
Mom’s cousin pic (2008) English teacher pic (2004)
My New Characters (2008-2010)
Pituca fazendo faxina (2007) Monalia (2010)
“S” (2007) India Ticuna (2009)
Reprodução e outros personagens (1997-2001)
Felix, The Cat (1997) Cebolinha e Cascão (2001)
Cascão (2001) Cebolinha (2001)
ANIMES JAPONES: Shiro Jimbo’s characters 1979-80 (2001-2003)
Os desenhos abaixo, embora tenham sido por mim feitos, são personagem do desenho animado japonês Angel [Hana NoKo Lunlun] cujos direitos autorais são do desehista japonês Shiro Jimbo (1979,1980).
Hana NoKo LunLun 2002 (1979) Hana NoKo LunLun 2002 (1979
Togenishia 2003 (Hana NoKo LunLun )
Hana, Nubo and Cato 1979 (2002) Hana, Cato, Boris and Togenishia 1979 (2002)
Hana NoKo Lunlun arriving in Netherlands 1979 (2002): drawing in a paper sheet.
Hana smiling (2004)
Hana NoKo Lunlun 1979 (2004): desenho em acetato.
Angel The Flower Child 1979, pencil (Hana NoKo Lunlun) – 2005
Current Anime Drawings
Sailor V (Naoko Takeuchi, 1993) first sketch – 2011.
More drawings and paintings can be found in my portfolio on Flickr: