Friday, April 21, 2017

Sleeping Beauty Color/Design Studies



All those color key paintings by Eyvind Earle for Disney's Sleeping Beauty are breathtaking. Simple, strong composition that emphasize the design and mood for individual scenes from the film.
Earle signed most of his work, but not always. 
There are plenty of fake Earle design paintings (along with Mary Blair) offered at various auctions these days, but the ones shown here are the real thing. 














The Walt Disney Family Museum is about to open a huge exhibition featuring Eyvind Earle's art.
Paintings from his work at Disney as well as his personal art will be on display. For more information go here:

http://waltdisney.org/exhibitions/awaking-beauty-art-eyvind-earle


For more on Earle check out this previous post:

http://andreasdeja.blogspot.com/2016/06/eyvind-earle_27.html


Wednesday, April 19, 2017

Song of the South Art

These gorgeous storyboard sketches by Bill Peet as well as the preliminary background/color studies (presumably by Mary Blair) show that the art of Disney Animation was still riding high during the mid 1940s. Song of the South was released in 1946. 
The studio had gone through a sizable staff reduction after a few of their high profile animated features failed to generate profits. Pinocchio, Fantasia and Bambi all disappointed at the box-office.

How an animation studio can survive a severe blow like this one is a mystery to me. And on top of it Disney continued to produce beautiful short films that still had a sense of experimentation in terms of style and story.










Monday, April 17, 2017

House Cat Studies



This is my cat Joan in 1991. She served as an early model to study cat anatomy, because we were just getting ready to animate big cats. Joan, the miniature lioness lived a full and happy life.

For some sketches I used a brush pen, a regular felt pen for others.









Friday, April 14, 2017

A Blast from the Past / Now in Hi Res



This photo was taken in the early 1980s. Didier Ghez posted this pic a while ago on his blog. We are celebrating master layout artist Don Griffith, who is about to retire. Don was a gentle soul with enormous talent. His career with Disney Animation goes all the way back to 1943. He worked on so many classic films. 
OK, based on the comments Didier received on his blog, here are the names of the folks in the picture:
Way in the back is background painter Jim Coleman. Next row from left to right:
Layout artist Guy Vasilovich, Don Griffith, blue sketch artist Kathy Zar, Joe Hale (producer, former layout artist), Ed Hanson (management), director Rick Rich, story artist Dave Jonas, layout artist Karen Keller.
Next row:
Director Ted Berman, me, layout artist Bill Frake, layout/vis dev artist Mike Hodgson, and in front layout artist Carol Grosvenor.
I remember this party as if it was yesterday. We were still in Walt's Burbank animation building.

Magic!!!

Tuesday, April 11, 2017

Pinocchio's Evolution

I am sure you've seen some of this art work before, but it is good to compare Pinocchio's development beats in one row. I don't know who drew this preliminary model sheet, it is reminiscent of the original book illustrations by Enrico Mazzanti.
The second sheet starts to show feature film qualities, it looks like Fred Moore might have had something to do with this version. Quite a bit of animation was done using Pinoke looking like this, but Disney wasn't satisfied.





An early color model cel with a still unrefined Geppetto.



Here Milt Kahl comes into the picture. He drew these poses after having animated a test scene featuring Pinocchio under water. (Which is sort of an odd choice for selling a new character design as far as environment).
Anyway, we all know that Walt loved Milt's model, and the rest is history.
Milt was right, a little kid personality is more important than the wooden marionette look.






Bob Jones created character models like this head of the title character.



A cel set up from the final production.



If you want to find out about the film's Making of, get J.B. Kaufman's fantastic book:
Pinocchio, the Making of the Disney Epic.

For a Milt Kahl pencil test, go to the bottom of this page:

http://andreasdeja.blogspot.com/2011/06/milt-kahl.html


Images Heritage Auctions

Monday, April 10, 2017

Disney Roughs



A bunch of Disney rough animation drawings to show the various drawing styles of the animators.
As usual Ollie Johnston has a light touch in his work, allowing him to animate faster than most other animators (he spent less time in each drawing.) The first three images are by him.





Fred Moore's loose energy and confidence are evident in this rough of Doc.



Bill Tytla drew the scenes with the dwarfs before and during Grumpy's bath outside.
Terrific animation, but drawings like this one need a top clean up assistant to add detail.



Eric Larson indicated on the right side how part of Cinerella's dress should flow. This is important information for the in-betweener.



The beaver from Lady and the Tramp examines the log-puller.



A John Lounsbery rough of King Hubert. the shape language is very close to Milt Kahl's.



A powerful pose of Maleficent, not by Marc Davis, but by animator Amby Paliwoda, who I believe didn't get any credit on Sleeping Beauty.



Friday, April 7, 2017

Another Kley



A beautiful composition featuring two satyr type characters admiring a lady, who seems displeased at being starred at. I like the muted color choices, browns against blues. I am dying to animate those kind of characters. I even have an idea for a short film...but that's way in the future, after I finish my film with the girl and her tiger.

Thursday, April 6, 2017

Jose Carioca



Just a fun comparison between an early version of Jose Carioca (possibly drawn by J.P. Miller during the El Groupo trip to South America) and his final appearance in the 1943 film Saludos Amigos.
Fred Moore finalized the design and animated numerous beautiful scenes with this character.




More on Fred's work for Saludos Amigos and The Three Caballeros here:

http://andreasdeja.blogspot.com/2012/11/freds-flair.html


Tuesday, April 4, 2017

Frank Thomas goes Wild


 


There are many hilarious moments in Disney's 1949 film The Legend of Sleepy Hollow.
Frank Thomas and Milt Kahl animated scenes during the classic dance sequence at Van Tassel's party.
Brom Bones tries desperately to get close to Katrina, but the overly enthusiastic, love struck Tilda stands in the way. Frank Thomas goes to an exhaustive routine in which Brom Bones tries everything in his powers to rid himself from this energetic, clingy girl, but to no avail. 
Animation drawing # 331 shows a type of exaggeration seldom seen in Thomas' work. He gets the idea across that Tilda is "glued" to her reluctant dance partner. For one frame only Disney realism goes out the window, as B. Bones' finger elongates illogically, but to great effect.
This long scene is a comic masterpiece, beautifully timed and drawn exquisitely. Milt Kahl helped Thomas by contributing numerous tie down sketches in order to maintain solid anatomy during these wild movements.

A lot more key drawings from this scene are published in my NINE OLD MEN book on pages 232 through 235.