I love talking to Mark Henn, one of the greatest animation artists of all time. And I loved seeing his work in “Moana,” Disney’s new animated musical set in Polynesia. Henn worked on the animated tattoos sported by — and interacting with — Maui, a demi-god played by Dwayne Johnson.

How did the idea of animating Maui’s tattoos come about?

First off, there’s Ron Clements and John Musker. Most of their films have been traditional, hand-drawn and I’ve known them my entire career. So since this is their first CG film, I think it started with a desire from their point of view to in some way if possible to incorporate hand-drawn elements as much as they possibly could.

It had been kicked around early on in the development — how can we do this? And so as they researched when they were in the South Pacific they saw that the tattoos and all of that play a big part culturally for the people of Oceana. So, I think it became very apparent very quickly that this was a very simple but very effective way to incorporate the hand-drawn elements that they both grew up with and were involved with throughout their career and blend it with the modern, the CG computer animation that we we’re doing nowadays.

The tattoos have a very flat graphic character and design so we try to take advantage of that. At the early screenings of the film, in its story sketch phase, they would come out of the screenings and almost everybody to a person would say, “We’ve got to have more tattoos in. We need more of Mini Maui and more tattoos which Eric, we both felt… We were glad to hear that… So, they put him in as much as they possibly could and you’ve seen it… We can’t put any more in.

So, it was perfect really, and it worked out so well. And our technicians really made it very easy. We do our animation on paper and then it is practically a one-button push to get that information then mopped on as we call it and placed onto the CG characters. So it opened up a whole variety of visual things because it was not only the tattoos we did that way but part of Dwayne’s song, “You’re Welcome.” A lot of those elements were all hand-drawn, the dancing figures in the background and those singing little faces and the fish and birds and things. So those are all hand-drawn elements that open the door for more visual interpretations. Because of the limitlessness of the medium we could do all kinds of things. So it was just a lot of fun.

Oh, I love to hear that — it makes me so happy to return to an artist’s hands holding a pen or a brush.

Me too. That makes two of us.

What did you like to draw when you were a kid?

I enjoyed drawing and I drew all kinds of things. I went through my car phase when I was younger and then dogs. I had an experience once in Cleveland. I was doing a promotional tour at the time for “Pocahontas,” and I was in between presentations. A gal approached me backstage with those fateful lines: “Do you remember me?” I had to admit that I didn’t. She said, “Well, we went to high school together and I still have some of your drawings that you did on the bus.” And she pulled out drawings that I had done, and she had saved. I think we were in band together and it was probably on a band trip but she saved these drawings all these years and I was really quite touched by that, that somebody would think enough to keep them. I think they were cavemen or something.

What else did you do in “Moana?”

It was primarily the tattoos but tEric Goldberg and myself animated actually the opening part of the prologue when you hear grandmother explaining the history to the kids of how the world in their mind was fashioned. And you see these serpents and you see the crab and the first little image of Maui changing into the hawk, and the Island of the Sea raising up and spreading out. We also did a lot of these tapas which are these illustrated images that comes from Oceana the South Pacific. Those appear in the prologue and then a big part of Dwayne’s “You’re Welcome” song has that tapa look. The tapa paper, the type of paper that they use is similar to papyrus. It’s actually made from tree bark and some other organic materials so it has a real heavy texture to it. The technology allows us to create that look, to make it look like the tapa paper that they saw in person when they went on their research trips and then they were able to then give it a 3-D effect and made it look like it was torn on the edges. It was a lot of fun and as I said, it looks great.

Do you have a favorite classic Disney animated character?

I have many, no question, but one of my all-time favorites is Captain Hook and Frank Thomas, who animated Captain Hook, is still one of my inspirational animators. As for the ones I have animated, I get asked that question quite a bit and I always feel like Frank, who always said that it’s kind of like trying to pick a favorite child. But if push comes to shove and I had to pick one that just has a very, very ever so slight lead I would maybe go with Mulan.

I know your faith is very important to you. Would you like to share a favorite Bible verse?

For me like most people or a lot of people John 3:16 is foundational for me and has always been.