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"Cool it Boy, unwind Yourself!"

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Animator Eric Cleworth drew the first few scenes that introduce the character of King Louie in TheJungle Book. But it wasn't until Milt Kahl animated this moment, when Louie picks up Mowgli off the ground, that the animation shows real personality.
At the start of the scene Mowgli is yelling at a bunch of monkeys, who had just dropped the kid to the floor. King Louie is watching this for a while, as he scratches his back with his left hand. He then puts his right foot into his mouth, thinking something like: Now what do we have here?
Milt takes full advantage of the comedic idea that with a big ape hands can become feet, and feet can act like hands. (Milt later animated the scene in which Louie stands on one arm, as the rest of his limbs are pointing at himself).
You don't see the scratching hand in these rough animation drawings. That piece of action is on a different level, as is Mowgli. There is a nice balance in the character's movement. As his upper body moves downward, his rear goes up, before Louie lowers himself into the throne.

These drawing copies come from the estate of Frank Thomas, who used them as reference for his own brilliant animation. Frank animated most of King Louie during the song "I wanna be like you."















Roger Rabbit Scenes VI

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My final scenes from "Who Framed Roger Rabbit?"
After Roger shakes hands with Eddie -holding a buzzer- he realizes Eddie is not amused.
"Don't tell me you lost your sense of humor already" Roger mumbles.
Hoskins replies: "Does this answer your question?" he then picks up the rabbit by the neck and plants a big smooch.





Classic Jessica Rabbit line: "Come on, Roger, let's go home. I'll bake you a carrot cake." We had Roger look right into camera with an "anticipatory" look.
Jessica was animated here by the brilliant Russell Hall.




And the film's final scene. I did Porky Pig only: " Ok, move along. There is nothing else to see. That's all folks. Hmm...I like the sound of that. That's all folks!"
For the following Tinker Bell animation we re-used the iconic Les Clark's scene from the Disney TV shows.





Sleeping Beauty/Behind the Scenes

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Another time travel post to the 1950s to explore what's going on at the Walt Disney Studios in Burbank, California. A cameraman with the help of an assistant is photographing painted cels of Fauna and Merryweather, two of the Three Fairies from Disney's wide screen spectacle SleepingBeauty. I wonder what these guys might be thinking: What phenomenal art...I hope I didn't leave any fingerprints on the cels...or, what's for lunch?

A fun story sketch by Bill Peet, who boarded the "Boy meets Girl" sequence for director Eric Larson.
I don't think Peet enjoyed working on such story material. He preferred exploring contrasting, character rich situations.




A dynamic story sketch featuring the entrance of Maleficent. The character's design is still at an early stage, based on Marc Davis' preliminary research.




Frank Thomas is discussing a scene with Ollie Johnston. Ollie is in the middle of animating the Three Fairies' reaction to Maleficent's sudden appearance at the castle.


You can see Ollie's animation drawings up close in this previous post:

http://4.bp.blogspot.com/-MzcYqpmKHvs/Tyei7VaN95I/AAAAAAAABwI/AvuKIh4FSoU/s1600/TFB-1.jpg


Early designs concepts for the Fairies looked like this. You have to start with something!




Marc Davis and John Lounsbery teamed up for scenes involving Aurora in the forest interacting with the animals. This is still a younger looking princess. The animation was kept, but re-drawn to represent a more mature looking woman.




Maleficent as a dragon climbs up a rock to fight Prince Phillip. Great drawing, possibly by animator Eric Cleworth.




A few Eyvind Earle's concept sketches, so powerful and cinematic!





Earle alienated some of the animators who felt that his production backgrounds were way too detailed, and took away from the animation. Most of us just love them for being different and so extravagant. As I mentioned before, in the end your eye will always go to what is moving on the screen...the characters.
When Earle saw the finished film after his departure from the studio he was "displeased" to find out that several of his background paintings had been airbrushed over, in order to soften the look.
Not an easy thing to realize for an artist with such integrity.








Some images Heritage Auctions.

Ken Anderson's Robin Hood II

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Ken Andeson has a huge fan base (and deservedly so). My 2012 blog post featuring some of his character designs for Robin Hood is BY FAR the most visited during my 5+ years of blogging.
Here is the link to that popular post:

http://andreasdeja.blogspot.com/2012/10/ken-andersons-robin-hood.html

Here is another photo of Ken in front of some of his many concept sketches for the film.
To the upper right of his head you see a sheet with head studies of the rooster Allan-a-Dale. Those are by Milt Kahl.
Ken also storyboarded several sequences for Robin Hood. Below is Sequence 1. It's astounding to realize how close the animators stayed with Ken's poses and staging. This section of the film was animated by John Lounsbery (Wolves and Sheriff, also Robin and Little John walking toward camera, then falling into the water), Ollie Johnston (most of L. John) and Milt Kahl (Robin and some of L. John). Milt decided to have Robin Hood stand up during his opening dialogue scenes, instead of sitting down.




I posted a B&W version of this model sheet before, here is the color version.



And this is what you get when combining the talents of Ken Anderson and Milt Kahl. Even miscellaneous characters turn out looking fantastic.



Kimball pokes Fun at Davis and Kahl

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I really need to ask Alice Davis (the owner of this gag drawing), about the meaning of this Ward Kimball illustration, featuring Marc Davis with an abstract dog and Milt Kahl with many realistic dogs. I will post her comment as soon as I find out. In the meantime you can come up with your own captions!


Making a Movie...

Jungle Cubs

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Even at a young age, Baloo couldn't stand Shere Khan.


The blog will be updated again on Sunday. Have a great week everybody!


Mushka in Animation Magazine

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Just  returned from an East Coast Disney Cruise, where I shared the stage with the one and only Stacia Martin. We gave drawing presentations on the theme of "Good & Evil". For the most part I drew shady characters, while Stacia drew heroines and heroes. The wonderful Tim O'Day hosted the program. Lots of Fun!!
Here is an article from Animation Magazine's April edition on my film Mushka. James Gartler interviewed me for this piece.
There are exciting news about the project which I will share with you soon.



Cinderella Mix

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A few pieces of art from the sixty-six year old Cinderella, a film whose success saved the Disney Studio.
The artwork above was done for a record album.You'd think that salmon pink as a base color might not look good, but it sure does here. The more obvious choice would have been a night blue.

A beautiful clean up drawing from an Eric Larson scene. Even if you had life action reference as a guide for the animation, this type of realism is VERY HARD to draw!!




A great Mary Blair piece. Two basic colors, blue and white with pink and yellow accents.



Even as black & white prints, still stunning.



I am not sure if this is her work as well, it might be by John Hench.



A cel from the Sweet Nightingale song sequence. A great example of reducing the complex human body to very simple, animatable forms.



Again, a very simple background, yet so effective. 



Actress Helene Stanley acts out a scene in which she is entering an imaginary coach that will take her to the ball. I don't know the name of the actress who plays the Fairy Godmother.
The following film still is from the same scene.




Some images Heritage Auctions.

Wendy & Michael Redrawn

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Milt Kahl's superb draughtsmanship was again needed when it came to putting a John Lounsbery scene on model. Wendy has just caught her brother Michael as he came flying down.
Louns didn't particularly care for animating pretty realistic girls like Alice or Wendy, and I think that's evident in his rough animation drawing below. For that matter Milt didn't enjoy those character types either, it's just that he was able to do them masterfully anyway.
While doing this beautiful drawing for Lounsbery, Milt was probably cussing and swearing as he often did. "Nobody can draw his x!# around here...." The teddy bear needed to be there for scene continuity.




A frame from the final scene.



Her is the rough Michael model sheet comprised of Kahl drawings only.




Lady Kluck

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One of my favorite Milt Kahl characters, and I am not alone in this regard. Eric Larson kept a framed montage of Lady Kluck rough drawings on one of his office walls.
The 1970s at Disney might not go down in history as great storytelling years, but the level of character design as well as acting remained very, very high. Lady Kluck's main shape is basically a triangle. Narrow at the head and wide at her feet. Milt animated her as your fun loving aunt. She speaks her mind, while maintaining a cheerful attitude toward life.
The badminton sequence with Maid Marion is priceless. There is some fun dialogue as Lady Kluck is anticipating Maid Marion's next move: "As your Lady in Waiting....I'm waiting!"
I think I mentioned before how much I admire the way Milt articulates her wings as hands. The fingers remain feather thin as she is holding her badminton racket or her dress. And she moves with utterly believable weight. Another Kahl masterpiece!















Drawings from Peter Pan

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A selection of rough animation drawings from Disney's classic film Peter Pan. These Milt Kahl poses  explain once again why Walt Disney needed to have Milt do the title character. The solid draughtsmanship alone with great attention to animatable anatomy made this animator casting obvious. Since there were several animators handling Pan, the original pencil tests revealed him in all kinds of different looks, from cartoony to too muscular. After Milt hit the roof, he then re-drew some of those key drawings so that clean up would have an easier time keeping the character on model.





Hal King animated this beautiful scene with John and Michael.



Woolie Reitherman handled most action scenes with Captain Hook. Frank Thomas of course focused on the main acting sequences,



Norm Ferguson did some great work on Nana, a curious mix of pet and house maid.



I don't know who came up with these early charming design concepts for some of the The Lost Boys.



Ward Kimball drew the final designs for these lively characters, but I don't believe he did any animation on them.



The Indian Chief was Kimball's main contribution to the film. What fantastic animation! So inventive (as usual). I remember thinking about this character frequently when animating dialogue scenes with Jafar. It's so much fun to comer up with weird mouth shapes, as long as they work with the dialogue reading and the character's personality.





Drawings Howard Lowery, Van Eaton Galleries and Heritage Auctions.

Hercules Screening

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I did this drawing for Ollie Johnston in 1997 when he was celebrating his 85th birthday, which is on Halloween, October 31.
The reason I am thinking about Hercules right now is because I just returned from a screening of the film at Hollywood's vintage El Capitan theater. The movie palace is currently screening all of John Musker's & Ron Clements' animated films, leading up to their brand-new and first CG Disney movie Moana.
As far as my impressions regarding the animation in Hercules, Nik Ranieri's Hades and Ken Duncan's Meg sure stand out. My character Hercules as well as some of the others seem to work best when not "over animated", meaning when the acting reads clearly and feels natural. Some of the scenes I animated way back hold up, while others scream to be done over again. For some reason the sentimental scenes I did still work for me, when Herc is being humiliated by Hades, or when he is coping with Meg dying. Some moments with Meg at night on their first date look ok, too.

The Private Disney Apartment

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Most of you probably already know that Walt Disney kept a private apartment at Disneyland, located just above the fire house. This photo shows Walt relaxing in the company of his wife Lilian, his daughters Sharon and Diane as well as Diane'e husband Ron.
These days the park's management gives tours of the apartment on special occasions. A while ago I had the honor to visit this extraordinary place along with some friends. One of them was carrying a bulky backpack. While a lovely Disneyland vip hostess showed us around and explained the apartment's history, my friend turned, and his backpack hit the vintage gramophone's horn. I'll tell you, that horn wobbled for quite a while before settling. Our Disney hostess was aghast...well, we all were. The unimaginable might have happened.
Lesson learned: When visiting Walt's apartment, leave your backpack in a locker downstairs!! (and don't bring clumsy friends.)


Watercolor Backgrounds

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Most painters will tell you that watercolor is the most difficult medium to work in. You pretty much have to finish the painting while it is still wet. Once dry, no corrections can be made. Oil or acrylic paints are much more forgiving. You can make changes whenever you want.
It is astonishing to see the background artistry of early Disney features and shorts, all painted in watercolor. Just look at the piece above. A background from the 1940 short Tugboat Mickey. The lighting and subtle use of color is just incredible.
The next piece is from the unproduced Mickey Mouse short film.




This one is from the Goofy short Baggage Busters, 1941.



Polar Trappers, 1938. What I like about Disney films is the fact that often the sky doesn't have to be blue or white. The painters used a color that fits the mood of the scene.



A great original Tom & Jerry set up, even though, I think the colors have faded a bit over time.



When we started production on Lilo & Stitch, it was decided that the film would benefit if presented in a vintage watercolor technique. The problem was that most background painters at that time weren't capable of painting that way. It took a lot of practice, trial and error and above all valuable lessons from Maurice Noble, who had painted backgrounds for Snow White. I was told his advice was incredibly important for re-capturing the magic of watercolor painting. From Snow White to Lilo & Stitch, what a legacy.
I believe these two paintings are pre-production. Beautiful!




Images Heritage Auctions


The Milt Kahl Book

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I have talked before about my proposed idea for a series of books, each volume would celebrate the art of a particular Disney animator (not only the Nine Old Men). I had meetings about the book series when I was still at Disney. At that time the studio was working on the Disney Archives series, and I was told that these individual animator books would be too similar.
You might agree when I say that the time has come to re-visit that idea. The other day I had lunch at the Disney commissary with a small group of people, one of them was no other than Fred Moore's granddaughter. I had met her before way back in 2002 over at Ollie Johnston's house.
Anyway, it was great to find out that another member of the lunch group is working on a book on Fred Moore!!
So I here declare that after I finish my film Mushka, one of my main projects will be to publish a coffee table sized book on the art of Milt Kahl. I still have a lot of artwork by Milt that didn't make it into my Nine Old Men book. That art needs to be out there to inspire!
To give you an example: This gorgeous partial scene of King Hubert from Sleeping Beauty.

In the previous scene we see King Stefan looking out the window, sighing: "No sign of her yet, Hubert."
Scene 5 from seq. 13 follows. The Disney draft says: King Hubert at table, gorging greedily on food, talks to o.s. King Stefan. "'Course not, ha! Good half hour 'till sunset, ha. Ah. excellent bird! Ah, come on man, buck up! Battle's over...(girl's good as here!)"













Look at how Milt added overlapping action (in red pencil) on Hubert's sleeves in some of the last rough drawings. (Yes, this is rough animation, before clean up!)
All keys from this scene might end up in the Milt Kahl book.


Heinrich Kley Originals

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A few originals by Heinrich Kley, offered at various auctions. The last image recently at Heritage. If I had my pick, I'd choose the first one, it looks like a master animation drawing. So effortlessly scribbled down. As I pointed out earlier, the Disney animators didn't have such knowledge of anatomy when working on the centaurs for Fantasia's Pastoral sequence.
Today Kley's work is still the standard when it comes to depicting fantasy characters with realism.








More Ferdinand

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A couple of years ago I posted about Disney's 1938 Academy Award winning short film Ferdinand theBull. Here is more visual material from this groundbreaking film. This article is from LIFE magazine. The idea of the unwillful hero would be repeated a few years later in The Reluctant Dragon. A bull and a dragon who don't want to fight. One prefers to smell flowers, the other much rather write poetry. Today it seems easy to categorize these two characters' nature, but I bet in those days that wasn't given much thought. After all both projects were based in literary stories.





Story sketches reflect a more realistic approach to the styling of the characters.





 A couple of character studies that beautifully reflect the drawing style of
1930s Disney.





A clean up drawing of Ferdinand's mother (from a Milt Kahl scene),  who was voiced by Walt Disney himself.



Original cels show strong attitudes of the matador and Ferdinand.The poor guy is begging the bull to fight. I am not sure if the scene was animated by Don Towsley, or if this artwork comes from his estate.



Here is the link to my first post on Ferdinand:

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


Pinocchio Art III

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More art from Pinocchio that explains why many people regard this film as the best animated feature ever made.
The thoughtful planing for each scene is evident in Gustaf Tenggren's layout painting from the film's opening. A stunning piece of art that suggests mood, color and camera mechanics. Tenggren also did this village study based on architecture from the Southern German town of Rothenburg.






An early Geppetto rough animation drawing, probably by Art Babbitt.




A rough key and in-between drawing from another Babbitt production scene. Staging and acting are all there, but clean up artists had their hands full when adding detail and solid volumes.




A great cel with two of the film'a villains (Pinocchio has more villains than any other film that I can recall). This might be a color model cel, there is no dry-brush on the characters' cheek hair.




An early version of Lampwick, before Fred Moore got his hands on the character.




Story sketches suggested inspired staging and motion, and the animators took full advantage of this material.




A clean up drawing from a Bill Tytla scene. You can tell how much the animator internalized the character's emotions by the choice of facial expressions like the one here. This artist is totally expressing himself.




Production cels and backgrounds show an enormous amount of artistic integrity and passion for the art form.







Images Van Eaton Galleries and Heritage Auctions


Don't miss out on the once in a lifetime Pinocchio exhibition still running at the spectacular Walt Disney Family Museum:

http://waltdisney.org/exhibitions/wish-upon-star-art-pinocchio


The Old Inspires the New

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The connection between these images might prove to be utterly coincidental. But I couldn't help but wondering, if a couple of story sketches from Fantasia inspired certain gags in later Disney films.




Remember in Jungle Book when King Louie becomes annoyed at the little monkey mimicking his musical antics? That's what's happening in the Fantasia sketch between the old and the young satyr.







A beautiful sketch by Sylvia Holland  reminds us of a situation in The Fox And the Hound.








I doubt there is a connection between the old and the new, but who knows? Perhaps Disney story artists from the modern era found inspiration from discarded artwork decades earlier.

Story sketches Van Eaton Galleries

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