For my newest article, let's take a look at how a shot from Disney's Tarzan was achieved using Disney's Deep Canvas Technique, which allows a two dimensional character to move freely through a painterly 3 dimensional computer generated environment.

First of all, you start with a 3 dimensional computer generated camera move through geometric shapes that represented a jungle or the trees or the canopies that a character like Tarzan could interact with.

Next, you must go through, for every one of the drawings which are 24 frames per second, have to draw the character in place and interacting with the three dimensional environment, and when it will be awesome when it's done well.

Next, flesh out the backgrounds a lot more than that, and then add more detail such as more moss, more canopies, more jungle areas that the character is or is not interacting with or as important before, to create a even greater sense of environment.

Now here's an interesting part for the Deep Canvas process that I've been talking to you guys about.

As a painter, you will apply paint and construct the paintings as you could do in a canvas, except you're a computer and a stylist.

The Advantages of Deep Canvas is that the computer will “remember” every single paint brush stroke that you as a painter will be painting, you know like, what color it was, how hard you're pressing.

Then, the Computer will repaint that painting as many times as the computer needs in order to make a moving background.

Then, after you paint for a little while, then you may render a test in order to see how it look in motion, a example of a test may be like after a painter could only paint a few painting areas, but you want to see it moving to see how it works so far.

That'll give you an idea of what to do next. You could look at this thingy moving and you shall decide like “Now let's work on this area over here”, or, “Let's flesh this out”, or maybe “That part's not working. You need to repaint that.” It's just a way to check your progress at a Deep Canvas shot.

Now, you must paint a little while longer and flesh out more areas and fully realize them as paintings.

You may now add canopies of leaves, which is very interesting because it would actually be brushstrokes hovering in midair but not the tree trunk though, for the brushstrokes will land and stick on it.

The leaves themselves are represented by individual brushstroke which hangs on midair. That is that we will never see before.

And you will finally get the whole foreground element which is the tree that Tarzan could touch in the finished film.

When you're done, it would now be a completed painting and you will see everything in place without any gap at all. And it would be painted from every angle, too. But alas, for now, you may a missing element: the very farthest background level that you will put in another test.

Anyway, here's the finished result.

It would be all complete. Everything will be there. The background will be back. And you will get light beams, and effects levels such as a moment where Tarzan was kicking leaves as well as Tarzan's lighting, tones, and shadows.

And so, there you have it. A Deep Canvas shot, in which a two dimensional character like Tarzan would move freely through a painterly three dimensional CGI environment. I recommend those with 2D or 3D animation skills, talents, and so forth, to use a technique like Disney's Deep Canvas in your animated film.

End of Discussion.