Thursday, February 15, 2018

Edgar in a Panic

This is the second half of a scene, in which Edgar, the butler realizes that he might be in trouble. After kidnapping the cats he had left behind his hat and umbrella at the scene of the crime.
Milt Kahl surely had some fun animating this close up dialogue scene. His extreme use of squash and stretch adds unique comedy to this character. And that wonderful feeling of loose, moving flesh on his face. Of course he knew when he could go this far, his animation of Madame Bonfamille by contrast is an exercise in subtlety and grace.
The dialogue leading up to this moment: "They (the police) wouldn't find a clou to implicate me. Not one single clou. Well, I'll eat my hat if they...MY HAT, MY UMBRELLA!"



















Monday, February 12, 2018

Classic Disney Animation Roughs

Rough drawings from various Disney productions offered at recent a animation auctions.
I always find it interesting to see individual drawing styles by the animators. 
Marc Davis drew Maleficent very clean, as did most everybody on Sleeping Beauty. Because of the specific style in the characters' design the animators didn't trust their clean up artists to interpret their roughs. That meant drawing as clean as you possibly could.





A powerful Woolie Reitherman rough from the rat sequence at the end of the film.Woolie's last animation before becoming a director.





One of Milt Kahl's lovely Wendy drawings. He did not enjoy the assignment, but as usual he did an amazing job interpreting Kathryn Beaumont's live action reference.



Woolie also animated action scenes with Captain Hook and Perter Pan.
John Musker believes that this sequence is John Lounsbery's work. Nope, it's Woolie.




Oh boy, Eric Larson felt so bad about his animation of the prince in Cinderella. He told me he'd like to do it over again.



This drawing is from a Marc Davis Scene. (Not sure about the hand holding the letter.) But overall Marc's animation of Cinderella is breathtaking.



Fred Moore animated the Three Little Wolves in the this 1936 short film. Just beautiful!!



A clean up study by Iwao Takamoto over Marc Davis' animation. Shapes and lines in perfect harmony.



Bill Tylta animated the sequence before and during the "washing up section." Gorgeous animation that needed top clean up artists to finish it off.



A  Fred Moore rough animation drawing. So full of life, and such an intuitive feeling for the character.

  

We are standing on the shoulders of giants!!


Friday, February 9, 2018

Cruella's Last Scene




A couple of drawings from what might be Marc Davis' last scene he ever animated. It is Cruella's last scene in 101 Dalmatians. Her car had collides with Jasper and Horace's truck. Now she gives the two Baduns hell. "You idiots...you fools...etc."
This scene is featured in my 9 Old Men Book (if I may say so), the main key drawings are included in the Marc Davis chapter.
But I think it's interesting to see that Marc drew Cruella full size on 16 field animation paper, before 
the animation was greatly reduced in size to fit in with the scenic layout. 
I still have a hard time coming to terms with the fact that this animator at the peak of his craft left the medium to join WED. It's animation's loss and Disneyland's gain.

Cruella's fur coat with its many sections is a complex thing to track in animation. The heaviest weight is in her lower coat. All these different coat parts have their own way of moving and are timed differently. And then there is the overall design and the fun variety of shapes and volumes.
Like Color stylist Walt Peregoy said: " There will never be a villain like Cruella!"
We'll see....




Monday, February 5, 2018

One More...

Here's another cover idea for my NINE OLD MEN book, designed  by the multi talented Matthieu Saghezchi. I really like this one. 
But I totally appreciate your comments about preferring the final cover with my drawing of the Nine.
The publisher preferred it, too. 
I was just aiming for a more commercial cover. 







Friday, February 2, 2018

Early Book Cover Idea

This was an idea for the cover of my NINE OLD MEN book, designed by Matthieu Saghezchi. For various reasons it didn't make the cut. It would make for a nice poster though. 




Sunday, January 28, 2018

A Harper Goff Mystery



Sadly I never met Harper Goff, an artist who contributed in so many ways to Walt Disney's "mid century success".
He met Walt in 1951 in London in a model-making shop. They both wanted to purchase the same model train. To make a long story short, Goff joined the Disney staff soon after and became involved in the Disney's live action film 20.000 Leagues under the Sea. He designed sets for the film as well as THE Nautilus submarine. Goff also played the banjo as a member for The Firehouse five plus Two, a Dixieland band that included Disney artists Ward Kimball and Frank Thomas. He became an important designer for various Disneyland and Disney World attractions.

So here is where it becomes interesting. This painting, featuring Harper Goff and his wife Flossie was auctioned off a few years ago. The artist is no other than French painter Albert Brenet, who I posted about a few years ago, with no knowledge of any Disney connection.

https://andreasdeja.blogspot.com/search?q=brenet

I really don't know how these artists met, but it had to be in 1958 or before.
When it comes to Disney it's a small world between Animation and Fine artists.









Friday, January 26, 2018

Realism before Caricature/Animation

These Ollie Johnston drawings popped up on Ebay recently. They are life drawings of either a Dalmatian or Ollie's own dog. I can tell from the drawing style that they were done during the latter part of Ollie's career, most likely in preparation for 101 Dalmatians.
All of Disney's animators sketched a lot of life dalmatians before getting into animation production.
You might think that this extensive research would not have been necessary, since just a few years prior the crew animated plenty of dogs for Lady and the Tramp. They already knew and had analyzed anatomy and movement for a variety of dogs. So why start all over again for 101 Dalmatians?
The answer is because it was a Walt Disney production. And the philosophy was that you can't animate an animal until you have studied the real thing.
I totally believe in this. No matter how stylized your final character design ends up, if it doesn't have  characteristics of the real animal or person, it won't be convincing.











A lot of realistic research of dalmatians was absolutely essential in order to achieve THIS for the animated film.



For more on studies of real dalmatians for the classic film, go here: