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King Louie & Flunkey

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Ken Anderson came up with sketches that defined the relationship with King Louie and the little langur monkey in The Jungle Book.
Louie is annoyed by Flunkey who imitates his own jazzy vocalization. The Anderson sketch shows a simple "shut up" approach. In the final footage, animated by Frank Thomas, there is more of a chase involved as Louie tries to silence the monkey. Frank did animate the Ken Anderson version, but for all I know that footage is lost.



Drawing Sculptures

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I drew from these sculptures more than twenty years ago. The late renaissance and early baroque have always fascinated me because human figures in painting and sculpture had this amazing sense of motion. I studied this stuff because I hoped to improve the fluidity in my own work by re-visiting those European masters.
Brush pen and wet finger tip smudges.






Kley @ kunkelfineart

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It's always thrilling to find new art by German artist Heinrich Kley. I google Kley about once a month to find out if any new illustrations have surfaced. Some of the images here have been offered at Heritage Auctions as well as certain galleries. Most of them were or are for sale at Alexander Kunkel's website:

http://www.kunkelfineart.de/gal/index.php/en/gallery/1/35/248









This one is right out of Fantasia's Night on Bald Mountain.








The actor and the critic.














Click's Magazine 1941

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Here's a 1941 magazine article that promotes the release of Fantasia. Always fun to read about the current mood and situation during Disney's golden age of animation.









Eric

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Eric Larson working -obviously- on 101 Dalmatians. I am not sure when this photo was taken. Perhaps during production or after the movie was finished. 
Everybody loved Eric. When interacting with animation students or newcomers to the studio during the 1970s and 80s, he was a very good listener. He wanted to know your background, your history.
His advice was always encouraging. Eric was fascinated by student's individual talents. 
And he always stressed the value of Walt Disney's approach toward entertainment. Bringing audiences up to what they didn't expect. 
When the studio got into TV animation, Eric was heartbroken. He stressed that Walt always wanted top quality, no matter what format. I read between his lines that Walt would have insisted on top quality for the then new Disney Chanel content. The Illusion of life, which it wasn't.

Compromise was not something Eric supported. He loved his old boss and tried to communicate to some of us that superior quality was an excellent business model that would always win.

That kind of philosophy stayed with me ever since Eric conveiged it to us. 
Perhasps I can convince John Musker ( who had great interactions with Eric) to host a full blown Academy Tribute on Eric's animation work as well of his teachings. This is so overdue.




Sword in the Stone Vis Dev

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Some beautiful visual development art by Vance Gerry and Ken Anderson.  
Ken Anderson art directed The Sword in the Stone, Vance got credit as a layout artist. But as you can see he did much more than production layouts, he created color environments for many sequences, including the one with Merlin and Wart as fish.
When I started at Disney in 1980, Ken was around, but was getting ready for retirement.
Vance on the other hand worked on quite a few more films, including Mouse Detective, Beauty and the Beast and The Lion King.



Embattled Drawings

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This is a Frank Thomas scene from The Legend of Sleepy Hollow section, which is a part of the 1949 feature The Adventures ofIchabod and Mr. Toad. 
The animation is gorgeous. Here are just five drawings from this looong scene. Brom Bones is trying to rid himself of Tilda, who seems glued to the town hunk during the dance. 
In order to save money (and paper), the animator's drawings were rubbed down before a clean up artist added volume research in color pencil on the same sheet of paper. The final graphite line represents the last stage in defining the characters before the drawings were sent to the ink & paint department. 
These drawings show the creative battle animators and clean up artists go through in order to achieve the best results on the screen. Correct anatomy is only slightly compromised to ensure fluidity of motion. 
Since Milt Kahl supervised these two characters, he most definitely did key drawings, so Brom and Tilda look the way he envisioned them. But the animation is all Frank.
So much brainwork on everybody's part. Teamwork!!












Read the note on #411, from Amey to Hillary.  Hilarious!!
This scene is discussed in my book on THE NINE OLD MEN. Just thought I bring this up...


Fred Moore's Mickey

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I found this image on the internet a while ago. Whoever the owner is...congratulations, this is a unique Fred Moore doodle sheet. Starting out with red pencil, Fred explores a variety of poses. Then, in usual fashion, he adds black pencil lines on top. Those lines are the ones that matter, the red under-drawing was research in order to get to the final form defining black lines.
There is just one unusual thing going on here.
The red under-drawings show Mickey's eyes with pupils, the "modern" design. The black lines refer back to the "old" eye treatment, solid black ovals.
There is no doubt that these sketches were made during Mickey's eye transition in 1938/39.
It's just that you'd think Fred would draw the old design first, then add the new Mickey with pupils on top.
Curious....


Prince John Goes Berserk

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A beautiful scene with Prince John, animated by Ollie Johnston. The character is very consistent throughout the film -drawing and personality wise- because Ollie handled just about every scene with Prince John. 
Here at the beginning of the archery tournament he says:
"That insolent blackguard...ooh...I'll show him who wears the crown.". 

The film's draft gives the following description:
MCU - Prince John reacting to the mention of Robin Hood's name - slams paw down on arm of chair, which causes crown to bounce off his head and down into position covering eyes.

The action goes great with the dialogue, because obviously he is not wearing the crown very well.
I also love how fast he raises his arms on "ooh", he goes from being upset to severe outrage.
Great overlap on the heavy sleeves.


























Did anybody notice that up until frame 60 Prince John has five "fingers", but from then on shows only four?


Just a Beautiful Drawing

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...by Wilhelm M. Busch for a bookcover.
An ordinary pose, drawn in an extraordinary fashion. This approach applies to animation as well.
Often you get to do a scene in which the character does something ordinary. How can this scene come out looking interesting. Of course the first thought should be around the character's personality. Is there a way to be unique and specific in your acting choices. The same goes for drawing and staging. A woman is sitting on a chair. What is she thinking? Who is she? Once you know that, then the drawing challenge follows. How can I portray this woman in the most beautiful and insightful way, so people want to look at her.
Well, I do want to know more about this woman. I guess I will have to read the novel.




Martin Provensen

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So I have a confession to make. These are early model sheets of the villain for the 1946 short film Peter and the Wolf. The artist is the incredible Martin Provensen. His sketches greatly inspired me during the pre-production phase of The Lion King. I remember, I was looking for any kind of visuals that might help me to get a handle on Scar. Well, when I saw Provinsen's wolf drawings I suddenly found Scar's main attitude. Not very strong physically, but very crafty and scheming.
I honestly have no words to describe the genius behind these sketches. I am still in awe.






This is a scene I co-animated with the brilliant Mark Henn, who drew young Simba. Mark was working at the Florida studio while I was in Burbank. We never spoke about how to play the scene, it just seemed obvious.





Martin Provinsen and his wife Alice, probably in the late 1940s after he left Disney. The two eventually became first rate book illustrators. They pioneered a flat graphic visual style, which in turn would influence Disney. (Sleeping Beauty)
Martin died in 1987, his wife Alice is now 99 years old, and as far as I know still illustrating.
  




It's funny how the work of another artist can give you a lift and help you with your own assignment.


The 9 Old Men at the Walt Disney Family Museum

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A once in a lifetime exhibition is being presented at the Walt Disney Family Museum in San Francisco. NINE OLD MEN will be open to the public on May 17, it will run into January of next year. The curator is Don Hahn, who got in touch with family members of the nine, and was able to secure rare items, such as personal art, student work and pieces associated with their hobbies.
Below are a few examples. The majority of art will of course be animation related. Hundreds of rough drawings, flip books  and a new documentary film.



Early Milt Kahl



Frank Thomas student work



Les Clark


A great caricature by John Musker of himself with Eric Larson.


There will be an exhibition catalogue for sale. And Glen Kean's own fabulous exhibit is up simultaneously. If you ever wanted to visit the WDFM...now is the time!!!

Here is the official link to the museum:

https://waltdisney.org/exhibitions/walt-disneys-nine-old-men-masters-animation



Roger Rabbit Poster

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I drew this illustration of Roger Rabbit eons ago for some Disney travel department or Disney theme parks. I remember having fun with it.
Black felt pen and Magic Markers. Very much influenced by what Hans Bacher taught me about markers and color.


More Early Black Cauldron

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I found a few more of my early character concept art currently being offered at Heritage Auctions.
They date all the way back to 1980/81. Drawn in an office on the second floor of the original Disney Animation building. As I mentioned before, my office mate was Tim Burton, for about a year.












Sullivant Original

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I do own a few TS Sullivant originals, but not this one. It was offered by Heritage Auctions late last year.
Just like every Milt Kahl drawing, each Sullivant illustration represents an adventure in humorous, graphic exploration. EVERYTHING is entertaining, the animals' anatomy, the insane sense for caricature, staging and on and on.
The caption is very funny, too. Here is what Heritage said about the piece:

Thomas Sullivant Life Magazine Illustration Original Art (Life Publishing Company, 1921). Before LIFE magazine was purchased by Henry Luce in 1936 and become the long-running photo-magazine American institution it is remembered as, it started in 1883 as a humor magazine similar to the British Punch. This whimsical cartoon illustration from 1921 features only a portion of the caption, but in it, Mrs. Hippo asks Mrs. Gnu how her children are. Mrs. Gnu replies that one of them has gnumonia, to which Mrs. Hippo says that is "bad gnus". At least this Dad-joke has charming artwork crafted in ink on an oversized 25.5" x 17.25" sheet of Bristol board. Signed in the lower left of the image area. Toned, with edge wear, torn caption, and a missing bottom left marginal corner. In overall Very Good condition. 

Over the years I have posted numerous times on Sullivant's art. Here is the first one:

http://andreasdeja.blogspot.com/2011/06/t-s-sullivant.html



Ex Libris

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A couple of book plate illustrations by Wilhelm M. Busch (who else?)
Competent, honest draughtsmanship in its purest form. Can't stop admiring and being inspired by his beautiful work.


Frogs

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A great sketch of a frog by Swiss animal expert Fritz Hug. I love frogs. Their arms and legs always remind me of human anatomy. (Part of the reason I could never eat them.)
Below are beautiful sketches by Disney's Bernard Garbutt. What amazing observation.
Perhaps a dose of this kind of body structure might have helped the frog characters in Disney's The Princess and the Frog, one of the studio's last hand drawn films .









Happy Mothers' Day

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This unconventional mother-son relationship represents one of Disney's most heartwarming short stories. This is a basically a Bill Peet story, even though Ralph Wright and Milt Banta also received story credit. The film was released in 1952 and it stands out among other Disney short subjects produced during the 1950s. It holds up today because it fits in with today's modern diverse families.
Such a beautiful message.
A couple of top notch animators, Eric Larson and John Lounsbery supervised the animation, while Milt Kahl helped with character designs:

http://3.bp.blogspot.com/-5PBPOKiyiSQ/TfQFmbWsAoI/AAAAAAAAAEo/_dgpURLSDIk/s1600/MK_L_1.jpg

http://2.bp.blogspot.com/-kxIRuICQjz4/TfQFsNdQ1TI/AAAAAAAAAEs/VNGXOtFrhO4/s1600/MK_L_2.jpg


A Family Affair

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The opening night for the Nine Old Men exhibition at the Walt Disney Family Museum in San Francisco was magical. Most of the Nine's families showed up, and to talk to them while visiting the various galleries...what can I say, once in a lifetime.
Wherever you are in the world, if you can afford it, come to SF to see this exhibit. It is the largest the museum has ever mounted. I was planing to take a ton of photos, but ended up talking to family members instead.

Here are three generations of the Kahl family. Milt, Sibyl, his daughter and Zoe, his great-granddaughter, who did inherit Milt's artistic talent (she is super creative, winning awards in all kinds of art competitions).

Go see this show!


Geppetto Head Studies

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I should have put in a bid on these two sheets that were just up for auction. I was busy animating and forgot about S/R's animation art auction. Most of you know that Art Babbit animated the character of Geppetto in Pinocchio, but I believe these drawings are by Fred Moore.  
What do you think?






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