From the Art of Kungfu Panda:
Throughout this entire process, Stevenson was guided by one lesson from Bruce Block's The Visual Story: "If you don't define a language for your film, it will define one for itself, and you might not like it!" The Art of Kung Fu Panda translates the film's visual language and chronicles the artistic journey...
"Po is essentially a ball shape, and this was key in defining our shape language, in which good things are soft and round," Stevenson explains.
Having a small but constant story crew throughout the entire production helped to keep this defining behavior alive and consistent because "each of the story artists felt he intimately knew how Po would react in all situations, in his facial expressions and in the way Po stands and moves," adds Nelson.
"Mist is a classic Chinese painting motif, which exemplifies the concept that there is beauty in emptiness," explains Heng. It's also an element that features prominently in the development art for Kung Fu Panda. "In CG, filmmakers generally try to show everything, which tends to make things feel more fake. When things are shrouded in mist, it leaves more to the viewer's imagination, and the more believable the world becomes," adds Zibach.
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