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THE ART OF Disnep

ZooTopiA By Jessica Julius

Preface by John Lasseter
Foreword by Byron Howard and Rich Moore

CHRONICLE BOOKS
SAN FRANCISO
 Creating an animated film involves years of inspired collaboration and the highest levels of
artistry. Before the final rendered images of Zootopia were seen on screens around the world,
the following artists contributed their talents to the digital images included in this book:

DIRECTORS WRITER & CO-DIRECTOR

Byron Howard Rich Moore Jared Bush

VISUAL DEVELOPMENT STORY LOOK TECHNICAL ANIMATION

Brett Albert Paul Briggs Ian Butterfield Navin Pinto
Manu Arenas Jason Hand Sara Cembalisty Jason Robinson
Dale Baer Chris Hubbard Ramya Chidanand Jason Stellwag
Marty Baumann Nancy Kruse Paula Goldstein Esther Trilsch
Dan Cooper Lauren MacMullen Benjamin Min Huang
Justin Cram Steve Markowski Katherine Ipjian DEPARTMENT LEADERSHIP
John Ripa Chelsea Lavertu Nick Burkard
Jim Finn
Fawn Veerasunthorn Konrad Lightner Renato dos Anjos
Mac George
Vicky Lin Moe El-Ali
Andy Harkness
MODELING Jared Reisweber Katie Fico
Shiyoon Kim Chris Anderson David Goetz
Mitchell Snary
Matthias Lechner Virgilio John Aquino Bobby Huth
Pamela Spertus
Brittney Lee Sergi Caballer Garcia Hans-Joerg E. Keim
Dylan VanWormer
Cory Loftis Kevin Hudson Scott Kersavage
Jim Martin Suzan Kim LIGHTING Dave Komorowski
J Mays Jon Krummel Joan Anastas Brian Leach
Borja Montoro Brandon Lawless Christopher Erickson John Murrah
Nick Orsi Irene Matar Gina Lawes Ernie Petti
Bill Schwab Florian Perret Roger Lee Fabienne Rawley
Armand Serrano Alena Wooten Alex Nijmeh Jim Reardon
Jennifer Stratton Amol Sathe Michelle Robinson
Scott Watanabe ANIMATION Mark Siegel Claudia Chung Sanii
Victoria Ying Darrin Butters Diana Zeng Tony Smeed
Youngjae Choi Matt Steele
RIGGING Nathan Engelhardt CLOTH / HAIR SIM Lance Summers
Bret Bays Mario Furmanczyk Francois Coetzee David Suroviec
Adam Cobabe Jennifer Hager Erik Eulen Michael Talarico
Iker de los Mozos Anton Kira Lehtomaki Avneet Kaur Ryan Tottle
Jennifer Downs Chad Sellers Hubert Leo Josie Trinidad
Joshua Slice Edward Robbins Cesar Velazquez
Joy Johnson
Tony Smeed Mary Twohig Nathan Warner
Christoffer Pedersen
Xinmin Zhao
Nicklas Puetz FX
Matthew Schiller Dong Joo Byun

Copyright © 2016 by Disney Enterprises, Inc. All rights reserved.

No part of this book may be reproduced in any form without written permission from the publisher.
Library of Congress Cataloging-in-Publication Data:
Julius, Jessica.
The art of Zootopia / by Jessica Julius ; preface by John Lasseter ; foreword by Byron Howard. Front Cover: David Goetz, Cory Loftis / digital
pages cm Back Cover: David Goetz (posters),
ISBN 978-1-4521-2223-6 (hc) Designed by Glen Nakasako, Smog Design, Inc. Cory Loftis (design print) / digitalå
ISBN 978-1-4521-5405-3 (epub, mobi) Page 1: Byron Howard / digital
1. Zootopia (Motion picture)—Illustrations. 2. Animated films—United States. I. Title. Chronicle Books LLC
Pages 2–3: David Goetz / digital
NC1766.U53Z665 2016 680 Second Street
791.43'72--dc23 San Francisco, California 94107 Pages 4–5: Cory Loftis, Borja Montoro, Shiyoon Kim,
2015023753 www.chroniclebooks.com Nick Orsi, Bill Schwab, Dale Baer / digital, graphite
 PREFACE BY JOHN LASSETER 6
FOREWORD BY BYRON HOWARD AND RICH MOORE 7
INTRODUCTION: CREATING ZOOTOPIA 9

A WORLD DESIGNED BY ANIMALS 15

THE ANIMALS OF ZOOTOPIA 26
ZOOTOPIAN HABITATS 42
FILMING ZOOTOPIA 150
COLOR SCRIPT 156
ACKNOWLEDGMENTS 159
 PREFACE
I have always had a deep love for Disney animated films, where animals talk,
walk upright, and wear human clothing. Shortly after Tangled was released,
I discovered that film’s co-director, Byron Howard, shared this affection.
The team always sought to find the familiar while also being animal-
specific, and Dave and Matthias Lechner, the art director of environments,
brought so much imagination to the fun details that constitute Zootopia.
Movies like Robin Hood, Wind in the Willows, and Pinocchio are so enter- One of its foundations is the idea that public spaces must be accessible to
taining. These kinds of films are classically Disney, but we hadn’t done one everyone. A mouse should have as equal access to a building as an elephant.
in a while, and we were inspired to make such a film for modern audiences. So everything—doors, escalators, walkways—is constructed so all types of
Byron is a funny, quirky, charming director, and the ideas he pitched were mammals can safely live together without fear of being squished or stepped
so fun and appealing. We also wanted to create a Disney animated feature on. Door handles that hooved animals can open as easily as animals with
that pushed the filmmaking and storytelling to the highest possible level. paws, or traffic signals that animals of all sizes can see, are essential to
With that in mind, Byron and his team began to develop Zootopia. making Zootopia functional and believable. The city also has vehicles of
From the beginning, I was so excited about what this all-animal world all kinds, so we brought in the brilliant J Mays, former head of design at
could be. Most of the time, stories in animal films are really just human the Ford Motor Company. He came up with entertaining solutions to the
tales—if you replace the animals with humans, it would be exactly the same unique issues of this world, from trains that have double-height areas for
story. So we brought in Rich Moore to shepherd the storytelling. He always giraffes and rows of seats for smaller creatures beneath the bigger animals’
turns the expected on its head and comes up with ideas that are surprising seats, to automobiles that are super tiny for mice or have extra-heavy-duty
and fun. I challenged the filmmakers to imagine Zootopia as a world that suspensions to carry the weight of elephants and rhinos.
is truly and uniquely animal, where there are no people and mammals have The characters themselves also had to be distinctively of this all-animal
evolved to human levels of intelligence. For inspiration, I encouraged them world. They had to talk and walk upright, yet maintain the essence of the
to dive deeply into research on animals and their habitats. animal itself. Cory Loftis led the character design team, and every department
As with the story, the filmmakers did not want to design just a human in the pipeline worked together to study the way, say, a camel versus a bear
world with animals living in it. Zootopia had to look like a realm created by walks, or how a bunny versus a fox moves. The character team captured
animals, for animals. Yet it also had to be relatable to audiences as a big each animal’s individuality on-screen.
city. The visual development team, led by production designer Dave The challenge of creating a talking-animal film that would raise the bar
Goetz, researched animal habitats, asking, Which mammals live in each for our artists and storytellers pushed everyone in the studio to their highest
place? How do they live? What is each environment like? Inspiration came levels of achievement. Our dream is that audiences will fall in love with
when they realized the city of Zootopia could parallel melting pot neighbor- Zootopia. We hope every scene will be surprising and funny and make you
hoods of human metropolises like London and New York. But rather than think, “of course that’s what a DMV or a train would be like in a world of
Chinatown or Little Italy, in Zootopia there is Tundratown and the Rainforest animals!” I believe the cleverness and fun add up to make Zootopia one of
District, and the animals built infrastructure to support the diverse climates. the most entertaining films we’ve ever made. At its heart, it’s pure Disney.
The artists applied the research brilliantly, creating a world that is logical But it’s also unlike anything seen before in animation.
yet appealing and unique. —John Lasseter

6
FOREWORD
Z ootopia had to be something new. We knew that from the beginning.
There have been dozens of animated animal films, many from our
own studio, so we were determined to make our film unique by asking
learned—about how human cities grow, what creatures need when they’re
gathered together in large populations, the personalities of different
animals—into the soul of this all-animal world. Zootopia quickly took on a
ourselves one big question: Who created this world? life of it’s own, and it was bigger and more alive than any of us had ever
Zootopia is a world created entirely by animals, for animals. Walt Disney imagined. The city has thousands of elements, from multiple environments
Animation has a wonderful legacy of films where animals talk and walk like desert, rainforest, and tundra to mammals of all kinds, in every possible
upright, from Pinocchio to The Jungle Book to Robin Hood. Our love for size, each with distinct types of fur. It also has all the things that make human
those movies inspired us to make a film like that for today’s audiences. But cities distinct—a blend of ancient and modern architecture, lots of vehicles,
figuring out what, exactly, this world, its creatures, and its story would look and dust in the atmosphere.
like was its own evolutionary process. The talents of hundreds of people, Over the course of four years, the film’s story changed drastically.
and many thousands of ideas, all came together to create a film that we What began as a 1960s-era spy caper morphed into a mystery set in the
hope will stand alongside those Disney classics and open up new worlds present day underscored by a theme of how bias affects all of us. But our
for our audiences. artists were always resilient and so steeped in research that they were able
Initially, we envisioned Zootopia as a futuristic, idealized City of Tomorrow. to evolve their designs along with the changing story. A huge amount of
But through our research, we came to understand that cities are a reflection of amazing artwork for characters and environments was created. Many of
their inhabitants’ history and lifestyles, and that Zootopia had to evolve as a these pieces got repurposed for other uses, but some of our favorites
human city does. It had to have layers built up over time to make it feel like didn’t end up making it into the film in the end. But in our minds, the
a place that truly exists. John Lasseter challenged us to find the cool details city of Zootopia is a big enough place that it contains a lot more stories,
that are specific and unique in this world, which would help make Zootopia locations, and inhabitants than can be seen in a single film. This book is
so fun and appealing. Practical needs like accommodating animals of all a small way to showcase some of the remarkable art that doesn’t appear
sizes are solved with the design of multiscaled buildings and trains. Real- on-screen, as well as the art that does.
world biological details, such as the fact that in nature prey animals outnumber Zootopia is a film about recognizing that our world is complicated, that
predators ten-to-one, affect how the characters behave and move through life is complicated . . . for all of us. The film also says that the challenges we
their lives. Audiences also need to relate to what’s on-screen in order to feel face each day are made bearable by leaning on one another and learning
truly immersed in the film’s world and invest in the characters. They should together. In making this film, we have leaned on and learned from every
recognize their own experiences, but with an animal twist. So, of course one of the brilliant filmmakers that surround us here at Disney Animation,
the DMV is staffed by sloths! All of this creates those extra layers to make and their brilliance shows in every frame of Zootopia.
Zootopia feel like a real, functional city and a believable animated world. —Byron Howard and Rich Moore
The Zootopia team did months of research: visiting zoos and museums,
talking to experts in multiple fields, even travelling thousands of miles to
observe wild animals in the grasslands of Kenya. We then distilled all we had

7
Matthias Lechner / digital
INTRODUCTION:
CREATING ZOOTOPIA
W hat if animals evolved to human-levels of intelligence and civilization?
What if they lived in a world inhabited only by them? What would
a city built by animals look like? These were the imagination-stirring
an espionage story called Savage Seas. “The protagonist was a rabbit spy,
very James Bond in nature, named Jack Savage,” Howard laughs. “It was
fun, but every time we pitched it, everyone always said that the first act,
questions that inspired Walt Disney Animation Studios’ Zootopia. which was set in the animal city, was the most interesting part. So we lost
Zootopia began as all feature films do at Walt Disney Animation Studios: the spy element, as well as the ’60s vibe, and let the animal city inspire
as one of several different ideas pitched by a director to chief creative the whole movie.” Howard kept the bunny character as well, and started
officer John Lasseter and president Ed Catmull. In the case of Zootopia, brainstorming ideas for the other creatures that could populate this all-
director Byron Howard (Tangled, Bolt) pitched six ideas, including an animal universe. “I kept drawing a fox character. Foxes are natural predators
all-animal twist on the classic literary tale The Three Musketeers, a 1960s of rabbits, so I thought it would make a great buddy dynamic.”
B-movie–style story about a six-foot-tall mad doctor cat on a deserted What began to emerge was a comedic detective story set in an all-
island who turned children into animals, and a film about a bounty hunter animal city starring Judy Hopps, an optimistic bunny cop, and Nick Wilde,
pug in space. “John loved the quirky quality of the 1960s world and the a scam artist fox. It would become the fifty-fifth feature film from Walt
animal characters from the space pug concept,” recalls Howard. “It was his Disney Animation Studios.
idea to mesh the world of one with the characters of the other.” It was time to hire a screenwriter. Howard read scripts and met with a
Howard began developing a new idea that blended those elements few candidates. Then he sat down with Jared Bush, a writer best known at
together. When he pitched his new take for the film, it had evolved into the time for his work in television (Penn Zero: Part Time Hero; All of Us).
“I knew immediately Jared was the guy. His writing is insanely smart, but it
also has a playful quality that I love, especially in animated films. It was just
so clear he was the dude to do this.”
Bush was thrilled to work with Howard, on Zootopia in particular. “When
I met Byron, it was like we’d known each other for a thousand years,” he says.
“Our sensibilities for this movie were so similar. Since I was a kid, I have
obsessively loved animals of all kinds. When I was hired, it was still a spy
movie, and my dad and grandpa had been in the CIA. And the pitch had
all the elements that inspired me to become a screenwriter in the first
place—real stakes, fun character dynamics, and an unbelievable, expansive
new world to play in.”
The film Howard and Bush were imagining was hugely ambitious in
scope, and Howard knew he would need a crackerjack production crew to
help realize that vision. With that in mind, Howard asked Clark Spencer

Byron Howard / digital

9
 that we had to be careful not to get lost in the mire, and to stay focused
on Hopps and Nick’s relationship. Theirs is just one story among many that
can be told in Zootopia.”
From the beginning, executive producer John Lasseter challenged the
filmmakers to create a uniquely animal world, one in which humans never
existed but animals had evolved to human-level intelligence. Lasseter
encouraged the team to dive deeply into research before they began
thinking about story, plot, or characters. The team spoke with zoologists,
animal behavior specialists, and scientists who study animal evolution. They
embarked on field trips to the Natural History Museum to examine animal
pelts, visited the Los Angeles and San Diego Zoos and Disney’s Animal
Kingdom to study animal behavior and artificially created animal habitats,
and even went on safari in Africa to observe animal behaviors in the wild.
All of this research greatly inspired the film’s story and visual development.
The visual scope and scale of the all-animal realm of Zootopia began to
take form when the team asked Dave Goetz (Tangled, Atlantis) to come
on as production designer. Says Howard, “We brought Dave on early.
Evolving the city of Zootopia would have been nearly impossible without a
Byron Howard / digital production designer on the development team. Jared and I would discuss
peculiar ideas we wanted to explore in the story, like animal scale, organic
architecture, even the separate environmental districts. Dave took those
(Wreck-It Ralph, Bolt, Lilo & Stitch) to produce Zootopia, certain Spencer ideas and turned them into images so compelling that they inspired us to
would lead and assemble just the right team. The two had worked together make Zootopia even bigger and more immersive.”
on Bolt, and Spencer was glad the chance to collaborate again finally Goetz had been looking for a way to collaborate with artist Matthias
appeared with Zootopia. “From the minute I heard the pitch, I was excited,” Lechner for years. “I saw his website years ago, and his work was exceptional.”
he says. “It was a fantastic animated world, with engaging characters and a Lechner, who was a German citizen living in Vancouver, worked on Zootopia
great script, but it also had a compelling message. Byron and Jared were remotely for two years, before eventually moving to California to become
talking about the challenging and important topic of bias. I deeply wanted art director of environments. “I had wanted to work at Disney since I was a
to be part of this project.” kid and I loved this project. It’s my style of silliness and simple charm,” says
The breadth and depth of Zootopia engendered many challenges, Lechner. Spencer adds, “Matthias is fast, his work is so detailed, and he’s
including an ambitious, emotionally complex narrative. To ensure the conscientious. He always has a reason for every decision he makes; it can’t
story’s integrity during times of competing production needs, Howard, just look cool.”
Spencer, and Bush asked veteran animation director Rich Moore (Wreck-It Since Zootopia takes place on a planet populated entirely by animals,
Ralph, The Simpsons) to come on board as director of the film, working it needed a spectacular character designer, so the filmmakers asked Cory
alongside Howard. Moore was excited by the wealth of material presented Loftis (Wreck-It Ralph, Wildstar videogame) to join the team as art director
by the world and characters of Zootopia. “It was beautiful and relatable and of characters. “Cory comes from the video game industry, and the guy can
well thought-out. There was so much good stuff in the story and this world do anything,” says Spencer, who first worked with Loftis on Wreck-It Ralph.

10
 Spencer continues, “When 2-D designs are translated into 3-D models it
can be difficult to maintain their appeal—the charm inherent in a character
that is artistically enjoyable to look at. Cory expertly managed that process.”
Howard concurs. “Cory is a mad genius. He designed hundreds of unique
animals for this movie. And the 3-D model of every character looks like a
beautiful drawing from every angle.”
Loftis worked closely with the department heads of modeling, rigging,
simulation, and look development to make the designs work, and he’s proud
of the entire design team. “There are so many characters in this film that
it was tough for everyone to sit in one room to evaluate everything. So we
worked in smaller teams, with the department supervisors for each character
working together so everyone was on the same page.” Loftis continues, “It’s
a huge movie and it would be out of control if we didn’t trust each other.”
The filmmakers set out to bring a variety of voices into the story and
editorial departments. They hired Fabienne Rawley (The Insider, Monster
House), an editor with mostly live-action experience, because, Spencer says,
they liked her approach. “She is very thoughtful about how to edit films, and
cares deeply about this project. Fabienne asks the right questions about
the characters and story, and she’s great with emotion.” Josie Trinidad
Byron Howard / digital

11
 Byron Howard / digital

12
joined the crew early on as head of story, her first time in the role. Bush Wreck-It Ralph, says, “Scott’s very smart and strategic, but he also deeply
was especially pleased to have Trinidad leading the story artists. “The concept cares about the art.” That combination was important because Zootopia
of the film was a bit weird and dark for a lot of people early on. Prejudice is had a fundamental artistic ambition that directly influenced a massive
a tough idea to talk about. But Josie got it.” They also asked Jim Reardon technical challenge—creating believable fur. “We have a cast of furry
(Wreck-It Ralph, Wall-E) to be co-head of story. The pairing worked well. characters who we want to look believable, not like stuffed toys,” says
“Josie and Jim are a great team,” says Moore. “Josie is always thinking about Kersavage. “We have foxes, bunnies, sheep, polar bears, porcupines, as well
emotion and character, while Jim is focused on comedy and structure. as animals like elephants and rhinos with thick, scaly hides. They all have
They balance each other well.” fur, but each type of fur is different in how it moves, how light bounces off
Spencer and Howard selected Scott Kersavage (Wreck-It Ralph, Brother it, whether it looks coarse or fluffy. We had to develop a brand new tool in
Bear) for VFX supervisor. Spencer, who had worked with Kersavage on Hyperion [Disney’s proprietary rendering software] for that.”
The rest of the production team came together quickly. As co-heads of
animation, Renato dos Anjos and Tony Smeed led their department with
passion and tenacity. “Renato is able to articulate what the directors are
seeking in the movement, timing, and believability of the animation,” says
Kersavage. “And Tony has a great sense of acting and emotion.” Brian Leach
and Nathan Warner were brought on as directors of cinematography, with
Leach focused on lighting and Warner on layout. Both have strong back-
grounds in photography but were new to leadership roles. “Brian and Nathan
are impressive artists, and they’re also good collaborators,” says Kersavage.
Together, Leach and Warner pushed boundaries in their departments,
using new types of lenses, innovative camera movements, and lighting that
captures dust or water vapor in the air to give a sense of atmosphere.
Spencer says his team-building philosophy is all about balance. “On
this film, we worked with a lot of new people—new to the studio or new
in their roles. You don’t want everyone to be first timers, but it’s also nice
to give people an opportunity—just like Hopps gets her chance in the
film as the first bunny cop on the ZPD [Zootopia Police Department].”
Spencer smiles as he reflects on the crew. “We have a great team that
really gelled. Everyone feels supported and enjoys what they’re doing,
which shows up onscreen.”
“This film has a lot of inherent challenges,” says Howard. “Even so, I
wanted it to have the playfulness I love in films like Robin Hood, Monster’s Inc,
and Charlie and the Chocolate Factory. We’re wrestling with big themes in
Zootopia. But a sense of humor permeates everything because there are so
many elements to play with—the scale, the variety of animals, the parallels
between human behavior and animal experiences. It’s a rich environment
we hope audiences want to immerse themselves in.”
Byron Howard / digital

13
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