Fisherman Bear II

November 8, 2017, 8:41 pm

Here is the second half of Milt's scene from Bedknobs.

The Bear starts to bend forward in anticipation of the final big pull. He tightens his grip on the fishing rod and pulls with all his might. just when you think that drawing #107 is extreme, Milt turns the character's head on # 127 to maximize the effect of the Bear's exertion.

For those of you who are not animators, the final motion between #107 and #127 is what we call a stagger. The animation here does not flow smoothly from one drawing to another, instead the "staggered in-betweens" move back and forth toward #127 in a subtle but erratic way. On the screen this reads as a moment of strong physical effort.

At the end of the scene after his catch (in this case five humans on a bed) is out of the water, the Bear stumbles backwards, as he tries to keep his balance.

A text book piece of animation that is well worth studying.

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More Fritz Hug

November 10, 2017, 11:41 pm

≫ Next: Bedknobs and Poppins

≪ Previous: Fisherman Bear II

Discovering more of Swiss animal artist Fritz Hug's work is always a real treat!
Here is another selection of his beautiful art. What intense observation, and love for animals.

Here again the link to my first post on Fritz Hug:

http://andreasdeja.blogspot.com/2011/11/fritz-hug.html

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Bedknobs and Poppins

November 12, 2017, 11:05 pm

≫ Next: Walt Disney's Pinocchio

≪ Previous: More Fritz Hug

S/R Labs

I love the animated sequences in Mary Poppins and Bedknobs and Broomsticks. Wether anthropomorphic or standard animal types, the designs as well as the animation are just beautiful.

Just look at this trio of underwater creatures. How would you fit clothes convincingly on to fish?!

Below a vis/dev sketch of the bed with five humans entering the Blue Lagoon.

You just can't go wrong with Milt Kahl designs animated by John Lounsbery. All of these farm animals are so beautifully brought to life. Combined with a Sherman song, it's animation heaven.

S/R Labs

Milt Kahl dominated all final designs in those days, and that's a good thing. As Brad Bird said, without Milt's influence, the late Disney movies would look style-less. Without any particular graphic approach.

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Walt Disney's Pinocchio

November 16, 2017, 12:41 am

≫ Next: Ollie Johnston's Animation of Jock

≪ Previous: Bedknobs and Poppins

A few cel set-ups from Pinocchio, one of the most beautiful films of all time. And yet, according to Frank Thomas, even this masterpiece suffers from at least one grave story problem. But about that some other time.
I will be at CTN this weekend and I look forward to meeting and talking to some of you.

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Ollie Johnston's Animation of Jock

November 20, 2017, 12:55 am

≫ Next: Milt Kahl helps Cliff Nordberg

≪ Previous: Walt Disney's Pinocchio

Beautiful sensitive animation drawings by Ollie Johnston of Jock from Lady and the Tramp are currently offered by Heritage Auctions.
Ollie's approach is uncomplicated, with only one thing in mind: the character's inner emotions.
As I mentioned before, his light touch with the pencil allowed Ollie to get through his scenes quickly.
He often provided more footage than most animators did on any given production.

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Milt Kahl helps Cliff Nordberg

November 22, 2017, 12:48 am

≫ Next: Director Woolie Reitherman on JUNGLE BOOK

≪ Previous: Ollie Johnston's Animation of Jock

Cliff Nordberg animated this scene from The Sword in the Stone, in which Wart is adjusting a "Jousting Machine". Sir Kay is not very successful in practicing jousting on this contraption.
This is Scene 46 from Sequence 4. The draft says:

Jousting machine - Wart enters scene, runs up ladder, re-adjusts lance and helmet, again throwing himself heart and soul into his job.

The footage is based on live action, which was performed by one of director Woolie Reitheman's sons. Since Wart is the lead character, character designer and directing animator Milt Kahl kept a close eye on how other animators drew him. Here are numerous poses drawn by Milt over Nordberg's animation roughs.

There are drawings from another Nordberg scene included on this sheet.

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Director Woolie Reitherman on JUNGLE BOOK

November 24, 2017, 3:11 am

≫ Next: Another Frame from MUSHKA

≪ Previous: Milt Kahl helps Cliff Nordberg

Woolie talks about the animators' challenges when working on the characters for Disney's 1967 animated film The Jungle Book. (Walt's last animated project and my favorite Disney movie).

This interview was filmed during the early 1980s at the LA Zoo. Woolie just gets one thing wrong about Mowgli trying to get back to the man village, which he really doesn't want to do.

Nevertheless, historical statements from an iconic master of Disney Animation.

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Another Frame from MUSHKA

November 26, 2017, 11:59 pm

≫ Next: Melody Time

≪ Previous: Director Woolie Reitherman on JUNGLE BOOK

©Andreas Deja

We are in the process of colorizing this scene, early on in the film. Sarah just received a gift from her Grandma, a Russian folklore doll. This all takes place in Kiev in 1975.

The feedback from screening the film to select audiences in progress has been wonderful.

Kathryn Beaumont told me how much she loves the film's story. Lisa Davis (Anita from 101 Dalmatians voiced similar comments.)

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Melody Time

November 30, 2017, 12:33 am

≫ Next: More Early Black Cauldron

≪ Previous: Another Frame from MUSHKA

I remember Ward Kimball stating in an interview how ridiculous he thought some the Disney film titles of the 1940s sounded to him. "Fun and Fancy Free, Make Mine Music, Melody Time...what kind of titles are those?"

Be that as it may, the short films within these features contain some beautiful character as well as effects animation. And there is also a sense of experimenting with a variety of unique styles.

It ain't Pinocchio, but these movies are still very enjoyable to watch and to study.

Above a 1948 magazine article, followed by artwork from each of the film's segments.

RR Auctions

S/R Labs

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More Early Black Cauldron

December 1, 2017, 9:11 pm

≫ Next: Lounsbery Goon Roughs

≪ Previous: Melody Time

These design sketches of mine of The Horned King for The Black Cauldron are currently being offered at Heritage Auctions. They come from the collection of producer Joe Hale.
Black felt pen and Magic Markers, early 1980s.
I have always enjoyed working at this stage in production. Just imagining character concepts inspired by the story material. The movie was based on The Chronicles of Prydain books by Lloyd Alexander, and they are wonderful. With today's technology The Black Cauldron would make heck of a live action film.

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Lounsbery Goon Roughs

December 5, 2017, 10:01 pm

≫ Next: I Live for Furs!

≪ Previous: More Early Black Cauldron

John Lounsbery animated quite a few scenes featuring Maleficent's Goons. (Milt Kahl did one scene, and he came up with the final animation design.)

The following Lounsbery drawings are currently being offered on Ebay:

https://www.ebay.com/itm/Original-Disney-Sleeping-Beauty-Production-Drawing-Laughing-Warthog-25/142507447245?hash=item212e1b13cd:g:aMoAAOSw5YNZusFS

I believe the first three drawings were not used in the film, the last one is from the scene in which the Pig Goon proudly proclaims that they have been looking for a baby.

Frank and Ollie once said that John Lounsbery was the one animator who was able to adapt to Milt's drawing style better than anyone else at the studio. I thing these animation drawings prove their point.

Here is the link to a previous post on the Goons from Sleeping Beauty:

http://andreasdeja.blogspot.com/2014/04/goons.html

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I Live for Furs!

December 8, 2017, 1:47 am

≫ Next: "We Must Both Look Our Best for George"

≪ Previous: Lounsbery Goon Roughs

A fantastic scene by Marc Davis, who ended up animating all of Cruella's footage in 101 Dalmatians.

Leading up to this moment, Cruella tried to interact with Pongo, who fiercely growls at her.

Anita, in an attempt to avoid a dangerous situation, tries to get Cruella's attention away from Pongo.

"Cruella, isn't that a new fur coat?"

"My only true love, darling." (The following scene: "I live for furs, I worship furs!")

I love the way Cruella lifts up the heavy coat and buries her face in it, # 25. This is a great example of referencing some live action footage and then going to town with it by greatly exaggerating the idea that this crazy woman is truly nuts about fur coats.

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"We Must Both Look Our Best for George"

December 12, 2017, 1:00 am

≫ Next: Cinderella Photostat and Final Frame

≪ Previous: I Live for Furs!

...He is our oldest and dearest friend, you know."
English character actress Hermione Baddeley read those lines in this scene as Madame Bonfamille in The Aristocats.
Even after all those years I am still baffled at how amazingly Milt Kahl animated this realistic character with grace and believability. Of course he simplified her human figure, and what you see are vintage Kahl shapes and forms. Disney layout artist/producer Joe Hale told me once: " Only Milt was able to pull off stylized designs with strong straight lines against curves."

I just love her elegant movements and charm. And the fact that the drawings were kept rough and loose doesn't bother me at all. I call her a "mini Kahl masterpiece".

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Cinderella Photostat and Final Frame

December 12, 2017, 9:05 pm

≫ Next: More Early Black Cauldron II

≪ Previous: "We Must Both Look Our Best for George"

Eric Larson animated this scene in which Cinderella enters frame with a teakettle and starts pouring hot water into one of the teapots.
Photostat and final image might be a couple frames off, but you can see Eric's graphic choices bases on the live action reference. Cinderella's head is tilted more toward camera so that her face is easier to read.

Amazing that the prop trays and cups are exactly aligned for the animation. But then again they had to, since their arrangement are an important part of this gag sequence involving Lucifer.
One thing I noticed is that the inking of the saucers on the cel looks poor, the ovals are all off.
This movie was rushed through production, and sometimes it shows.

But who cares, when you have such a great story and beautiful character animation!

Photostat - Van Eaton Galleries

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More Early Black Cauldron II

December 13, 2017, 11:37 pm

≫ Next: Cheers

≪ Previous: Cinderella Photostat and Final Frame

Certain items from the recent Heritage Auction brought back a lot of memories. Look at this dynamic pastel by Mel Shaw, Mel's room was filled to the brim with extraordinary artwork like this. He must have created hundreds of images for The Black Cauldron. One of the most prolific Disney artists I have ever encountered.
These were the days when the studio had several unique artists trying out for the film's character designs. The original idea was noteworthy, a new fresh style might have been the result.
Before I started on the movie, Milt Kahl, who had left the studio after The Rescuers in 1976, was approached to help out with character concepts. At that time Milt lived in Marin County, just north of San Francisco.
I remember during my first visit, he showed me prints of the designs he had come up with.
Milt said that these kind of characters would be easy for him to animate, but that the studio at the time didn't have artists with the kind of caliber to pull this off. He was right.
But the question remains: Should we even have bothered trying for the Milt Kahl Disney house style?
After all, Tim Burton was working feverishly to present his unique vision for the film.

I don't think I ever mentioned that Marc Davis also contributed design ideas. These sketches lack the graphic "bite" Marc was known for, but his staging is still beautiful.

Tim Burton was also extremely prolific during the early stages of The Black Cauldron. But the studio wasn't ready to apply his approach for the movie.

I remember discussing the need of life drawing with him. He said: "I need anatomy classes more than anybody in the world."

All of this occurred more than 35 years ago!!! That's an insane realization, because I remember it like it was not so long ago.

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Cheers

December 15, 2017, 11:01 pm

≫ Next: Disney Cel Set Ups

≪ Previous: More Early Black Cauldron II

I have posted a black & white version of this beautiful Milt Kahl design drawing for SleepingBeauty before. Here it is again in color. King Hubert, King Stefan and the Lackey, all totally different personalities and body types. A celebration of pristine shape variety and contrast.

Cheers to a wonderful holiday season!

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Disney Cel Set Ups

December 18, 2017, 3:34 am

≫ Next: Holiday Greetings

≪ Previous: Cheers

About a couple of years ago auction house Bonham & Butterfields offered a number of beautiful Disney cel set ups. To see them lined up like this showcases again the studio's exquisite color palette for its animated films.
Disney background painters as well as color model artists (who came up with final colors for the characters) were experts from the beginning. Even the early Silly Symphonies displayed a refined sense for color that enhanced storytelling and character development.
One big challenge had always been to choose flat cel character colors that would fit in with the more rendered backgrounds. Not an easy thing to accomplish.

To me Disney's film images have always been a feast for the eyes and the senses. They make you feel something, you get emotionally involved.

Some of these backgrounds match the actual cel, others were specifically painted by studio artists for sale.

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Holiday Greetings

December 19, 2017, 10:54 pm

≫ Next: Gurgi

≪ Previous: Disney Cel Set Ups

I don't know how far these marvelous Christmas cards by Mary Blair date back, my guess would be the 1960s. Her flat style with its geometric shapes reflects a mid-century modern style, but by now it looks timeless to me, because of its ultimate appeal.

I love the character illustration in this add. Minnie Merrell made somebody happy with a one year subscription gift for Walt Disney's Comics and Stories way back in 1939 or 1940.
If current representations of the classic Disney characters could look only half as charming.

Disney background painter Ralph Hulett created this beautiful nativity illustration. Hulett was a prolific watercolor artist, but he actually felt comfortable with the use of any type of paint. I presume this painting is acrylic.

Images Heritage Auctions

For more of Hulett's Christmas art go here:

http://www.ifitshipitshere.com/ralph-hulett-christmas-card-illustrations/

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Gurgi

December 23, 2017, 12:58 am

≫ Next: Developing the Character of Penny

≪ Previous: Holiday Greetings

Tim Burton's preliminary designs for the character of Gurgi from The Black Cauldron fetched a big $ amount at Heritage's recent animation art auction. After all it's Tim Burton!!
Milt Kahl's version of the character sold for a lot less, after all, who is Milt Kahl??
When working on early designs (during the late 1970s), Milt "recycled" shapes and forms from some of his previous characters. I would say that his Gurgi is a mix of King Louie and Tigger...sort of.

I myself had just a little to do with the final appearance of the character. Animator Hendel Butoy came up with the final look of Gurgi and did beautiful fluid stand out animation.

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Developing the Character of Penny

December 26, 2017, 8:38 pm

≫ Next: Disney's Christmas Carol 1957

≪ Previous: Gurgi

I believe this early sketch of Penny from The movie The Rescuers is by Ken Anderson.
When child actress Michelle Stacy was chosen to voice the character, animators Milt Kahl and Ollie Johnston based their drawings a little after her appearance.
Michelle also posed as Penny, but I do not know if she was filmed or just photographed.
Ollie Johnston sketched these poses from that reference. You can tell that Ollie was looking for a certain melancholy within the personality. One of his key sequences to animate was the sentimental moment where Rufus the cat tries to comfort Penny in the orphanage.