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Wetzel "Judge" Whitaker

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Another unsung Disney animation hero. Judge Whitaker worked at Disney as a character animator
on a ton of Donald Duck shorts as well as features, from  Snow White all the way to Peter Pan.
He animated scenes with Cinderella's stepsisters and Peter Pan's Lost Boys. Whitaker also worked on Lambert the Sheepish Lion.
Some of his most impressive animation includes the army of cards in Alice in Wonderland.

Here is a Youtube link that shows some of his beautiful work. While watching turn down the annoying soundtrack:

https://www.youtube.com/watch?v=LJ6rK1ROrfc




After leaving Disney Whitaker produced films for the Mormon church.
He died in 1985 at the age of 77.





Freddie Friday

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Nothing better than to end the week with some Fred Moore art. The first image is dedicated to Milt Banta, a Disney writer, and his bride Ginny. Banta worked on many short films and a few features, his last one being Sleeping Beauty. He was born in in London in 1908 and died in Pasadena, California, in 1959 at age 51.

Next up a sketch by Moore of Mickey in Fantasia. Fred was animation supervisor on the Sorcerer's apprentice, I don't believe he did any animation himself. So this drawing would be done in support of somebody else's scene.





A terrific publicity sketch for The Three Caballeros. It was sold at auction for $3000 a few years ago.
Signed Frederic Moore...


A lovely sketch of one of Freddie's girls. Rough and unfinished, it gives away his intuitive thought process when drawing the human figure. A young genius at work.



Venessa

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I was asked recently if I had anything to do with the character of Vanessa (Ursula in human form) for The Little Mermaid.
The answer is yes. I think at the time I was done with King Triton's animation and was asked to help out with this character who had limited footage in the film. I came up with these two model sheets, and animated a few scenes when we see her first.
The wedding scenes were animated by someone else, I believe Kathy Zielinski did some of that footage.
What I recall from this assignment is that I had fun with the overlapping action in Vanessa's hair and dress.
All this seems like two lifetimes ago.


























Early Medusa Set-Up

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This is a pre-production cel set-up from The Rescuers. Actually one element in it is production, and that's Medusa. Milt Kahl had already animated her as she gets off the sofa and moves toward the door  in the back, with hilarious dance steps.
The alligators Nero and Brutus aren't developed yet as final designs. Milt just scribbled these poses so a color model artist had something to work from for an experimental color scene test.
The layout's line work (which doesn't line up here with the painted shapes) is brown, it was later changed to grey to match the character's xerox outlines.
Some of the film's night scenes are presented in old fashioned black xerox.

Milt himself wasn't a fan of the movie's art direction. "You never knew what time of day most sequences were played, whether it was night or day", he criticized later.

Here is a link to an earlier post about Nero and Brutus. I love Milt's animation on these heavy reptiles:



Studies of Alice

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I don't know who drew these Alice poses, but the original artist is Marc Davis. Either a clean-up artist or a rough in-betweener traced off a few of Marc's key animation drawings. 
This kind practice gave follow up artists the opportunity to get to know the character in terms of shapes, lines and volumes. 
Quite a few studies like this one survived from Disney's golden and silver age. It was very common to study the lead animators' art, before adding assistant work. They are mere tracings, but I detect a pretty good understanding of the delicate realism involved in a character like Alice.


Dr. Facilier

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This might come as a surprise to you, but I was involved in a bunch of scenes featuring Dr. Facilier in The Princess and the Frog.
I remember that at the time story material and layouts for Mama Odie were still being worked on.
So I was asked to help out in the Facilier unit, which was lead by Bruce Smith, an amazing animator.
These are some of the scenes I animated. I drew the reacting characters as well.
I recall that two or three of my scenes were cut in order to improve story continuity. And Bruce re-animated a couple of my scenes because my timing wasn't up to Facilier.

But I really enjoyed animating him in this terrific, spooky Voodoo sequence .




































Tytla's Chernabog

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The Night on Bald Mountain sequence in Fantasia is probably the most extravagant piece of animated film making in regards to character animation and effects ever produced.
Fire, smoke, highlights and shadows, floating ghosts and experimental use of light, every single scene is loaded with awe inspiring richness. The result is definitely not family entertainment. This footage falls into the horror film genre. (I've said this before, terrifying enough to scare the popcorn out of kids). Disney in perhaps his darkest yet astonishingly beautiful animated moment.

The perfect challenge for young animator Bill Tytla, who had already established himself as an artistic powerhouse with gorgeous animation on several short films like Mickey's Fire Brigade and Cock o'the Walk. And the of course Stromboli in Pinocchio.
I don't know who drew Tytla's clean ups, but this work is exceptional. A devil in Art Deco line work.





What fascinates me even more are Tytla's rough drawings, even exploratory sketches. They give you insight into his extraordinary mind. The way he puts down lines to get a hold of this bigger than life character, his torso, arms, hands.
Many of the poses originate from the sequence director Wilfred Jackson own performance in front of the camera. Michael Barrier posted a few stills a while ago. Skinny as Jackson might have been, but you immediately recognize them as the inspiration for Tytla's masterful animation.

http://www.michaelbarrier.com/Interviews/Jackson1973/Jackson1973.html











Here is the link to my first post on Bill Tytla:


Sonf of the South

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What a beautiful color sketch, perhaps by Mary Blair.
I know that many of you are frustrated over the Song of the South controversy. All that beautiful animation lost in the film's dispute.
As for myself, I do agree with Bob Iger in that the movie cannot be screened today (unless it is for a lesson in American history).
I do believe that Walt and his crew had the best intentions when making it, but unfortunately the thought of being hurtful to many people had not entered their minds. Luckily attitudes and opinions change over time, and I bet you that if asked today, the film makers would agree with Bob.



The Nine Old Men in China

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I am thrilled to announce that my book on Disney's Nine OId Men is now available in China.


Willie the Giant

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Mickey and the Beanstalk is a short film that really stands the test of time. It was released in 1947 as a part of the feature Fun and Fancy Free.
The film's "villain", Willie the giant, was principally animated by John Lounsbery with help from Hugh Fraser. Some time ago, before a number a Disney animation books were published, and before any access to animation drafts (which list animator's names along with their scenes), many people believed that Willie was a Ward Kimball creation. It was an educated guess, since the animation is fluid, broad at times and inventive (Willie's anti-climactic sneeze). All characteristics of vintage Kimball animation.
But it is Lounsbery who wound up borrowing from Bill Tytla's giant in The Brave Little Taylor, the classic short from 1938. Willie is a simplified version of Tytla's massive but intricately drawn villain.
Lounsbery's giant is lighter, fluffier with an emphasis on comedy. Willie's voice actor Billy Gilbert contributed a whole lot to the character's development. His dialogue readings are rich in personality,
a giant who is funny, not too smart but utterly likable in the end.

I love these story sketches, perhaps by J.P. Miller.














A few stills from Mickey and the Beanstalk, featuring Mickey and Willie.









A Lady & the Tramp Masterpiece

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It is worth spending time studying these clean up drawings from the famous Frank Thomas scene.
Inspired by story sketches from Joe Rinaldi, Frank outdid himself, if that's even possible.
His emotional acting and timing are beyond belief. There is no live action reference that would give you a kick start. It's all in the imagination and craft of the animator to pull off this scene in which two dogs fall in love over a spaghetti dinner. 
I think it's one of the most perfect scenes ever animated at Disney. I remember Frank talking about the part where Tramp nudges the last meatball over to Lady. He needed to compromise dog anatomy in order to pull this off. "No real dog can get into a position like this" he said. He was talking about Tramp's staging, and how he would have to use a completely different pose to be anatomically correct. But that went out the window in favor of getting the right feeling across.
(This part of the scene is not represented here.)

I know that Iwao Takamoto supervised Lady's clean up drawings. I don't know who did Tramp, but I wouldn't be surprised if Iwao did him as well in this scene. 

Animation acting and drawing on the highest level! To all animation students:
Study the dimensional volumes of the characters. Eyes, eye lids, eye lashes, the configuration of Tramp's muzzle and its squash and stretch.
Notice how Lady's and Tramp's attention throughout is with off screen Tony and Joe, who are playing romantic music and singing "Bella Notte".

And how cool that animation can be this extraordinary!!




















































Here is the link to a previous post on this scene:


Kimball's Cricket

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A few outrageously beautiful Jimmy Cricket sketches by Ward Kimball that were recently sold at auction.
After having initially struggled with the character's design (Walt insisted on eliminating most insect anatomy), he eventually found a look that pleased the boss. A little guy with Mickey Mouse like proportions and an egg head. Just look at the range of expressions that Kimball gets out of this simple head shape.
For the 1937 Silly Symphony he had produced brilliant animation for musicians in a "bug orchestra".
That might have been the reason -at least in part- why he was assigned to this important character in Pinocchio.








Three More Kleys

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I just want to share these recent Heinrich Kley online discoveries.
Above, Bacchus' parade. Beautiful subtle color treatment and gorgeous line work.
A tribut to hangovers.
The next one is a muddle of creatures interacting. I wouldn't be surprised to find out that Kley started drawing on one corner of the sheet, not knowing what the final assembly or of characters and composition might end up looking like.




A study of industrial machinery, perhaps commissioned by the German company Krupp.
Kley was extraordinary at depicting everything from landscape watercolors, cityscapes, to fantastical beasts interplaying.
I am astonished to still find never before seen Kley artwork every year. To say that Kley was prolific is an understatement.





Eric Goldberg's Rhapsody in Blue

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The Rhapsody in Blue section in Fantasia 2000 is not only my favorite piece in the movie, it is one of my all time favorite animated short films. 
And lucky me had the opportunity to contribute a couple of scenes to this masterpiece.
I remember complimenting Eric on his amazing story reel. The way he created a solid, entertaining story based on Gershwin's 1924 composition almost left me speechless. It felt like Gershwin came up with his music to accommodate Eric's film many decades later. 
I love everything about this film. The Hirschfeld graphic influence, Susan Goldberg's art direction and everybody's animation. 
Had this been a stand alone short film, it most certainly would have won an Oscar.
Bravo Eric!!!

Here are a few stills featuring my animation.
















































James H. Dowd

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I am still a big fan of the drawings by James H. Dowd.  Full of life, beautifully observed and virtuoso draughtsmanship. I posted some of his artwork a few years ago, but I remember mis-identifying the artist's actual name. 
Anyway, Frank and Ollie were very impressed by his spirited illustrations. And of course they were.
The overall philosophy is very Disney-like. Personality, movement, everyday life poses...depicting the ordinary in an extraordinary way.
I found this info about Dowd online:

James Henry Dowd was born in 1884. He worked as a draughtsman, etcher and painter. Dowd was a regular contributor to the The Daily Graphic and in 1906 began to have his work published in Punch Magazine. As Mark Bryant points out: "He (Dowd) was also the magazine's first illustrator of film criticism, continuing in this post for more than three decades and also drew theatre caricatures."
Dowd also produced drawings for The Bystander and The Strand Magazine. He also designed posters for London General Omnibus Company and London Underground Electric Railways. According to one critic he was "one of the early pioneers of the vital expressive line that seems to be part of the subject, instead of merely illustrating it."
Dowd provided the drawings for several books including the highly acclaimed Important People (1930) and People of Importance (1934).
James H. Dowd died in Epsom on 16th March 1956.














Magician Mickey Roughs

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The year is 1937. Walt Disney Productions releases SEVEN Mickey Mouse short films. Magician Mickey opened in February, Snow White would be released in December.

In this short Mickey puts up a magic show while constantly being interrupted by Donald Duck.
Consequently Donald becomes a part and a victim of Mickey's magic acts.

Heritage Auctions offered this amazing collection of rough animation drawings a while ago.
I really don't know who drew these, but animation credits from this film include Johnny Cannon, Ed Love, Les Clark, Bill Roberts, Isadore Klein and Riley Thomson.
Fred Moore most certainly was still busy animating dwarfs.

This kind of artwork is extremely rare as rough animation drawings were considered not suitable for archiving. I love all of these expressive, vaudeville type poses. Great clarity and staging.










Talking amount Mickey Mouse: I had the pleasure of guest curating the next big exhibition at the Walt Disney Family Museum. 
MICKEY MOUSE, FROM WALT TO THE WORLD.

More on this in my next post.

Our Planet

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Go to NETFLIX and watch Our Planet. Incredible animal footage to study. From the folks who brought you Planet Earth.
As gorgeous as this documentary series is, it does inform you about frightening statistics in terms of disappearing wildlife on earth. There is some hope for creatures like this Siberian tiger, for other species it looks dismal.


Another Frank Thomas Masterpiece

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Frank Thomas' animation of Bambi and Thumper on the ice is legendary.
This story sequence was almost cut from the film, Walt Disney questioned its importance within the overall plot of the film.
Marc Davis had sketched the storyboards, and Frank got all excited over the possibilities for personality animation . In order to convince Walt that this might be a highly entertaining part of the movie, Frank posed out the whole sequence for Walt to see. The rest is history.
What a great contrast between the characters. Thumper is so comfortable on the ice, he is a champ skater with his low center of gravity. Bambi is the opposite. His long legs prevent him from balancing his body. 
It's animation business galore.

I noticed that Frank drew Bambi with solid, sometimes bulky legs. Milt Kahl was already in the business of stylizing a deer's anatomy with much thinner legs. (A trend that would continue with Prince Philip's horse Samson as well as Pongo.)







Mickey Mouse: From Walt to the World

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I am thrilled to announce that a new important exhibition is coming to the Walt Disney Family Museum in San Francisco.
I had the honor and pleasure to guest curate MICKEY MOUSE: FROM WALT TO THE WORLD.
This is a huge exhibit covering Mickey's animation career in film and on TV. Other areas we explored are Mickey merchandise, Mickey comics, Mickey overseas and Mickey's voice actors (that will include the boss of course).
His inspiration on fine art, Mickey's key animators and "How to Draw Mickey".
This is just the tip of the iceberg, there is so much more.

For infos about the exhibition go here:

https://www.waltdisney.org/press-room/mickey-mouse-walt-world




There will be a gorgeous catalogue/book featuring the essence of the exhibit.




It was none other than Diane Disney Miller who asked me a few years ago to get involved in this undertaking. What an honor, what a thrill.


More Black Cauldron Designs

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Heritage Auctions is again offering never before seen animation art, including a few more of my early character designs for Taran and Princess Eilonwy from The Black Cauldron
I remember having a conversation with Glen Kean about the idea for designs that reflect a mix of the drawing styles of Milt Kahl and Fred Moore.
These sketches are an attempt to achieve this. Seems like 100 years ago when I drew them.
Black felt pen and Magic Markers.






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