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Jungle Book Pencil Animation

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The clip starts right when Baloo sees Mowgli for the first time. He notices the kid sitting on the ground and reacts to something he's never seen before in the Jungle.

This animation assignment represents a strong creative comeback for animator Ollie Johnston, who recovered from an illness in the early 1960ies. There is no doubt whatsoever who this bear is, after only a few scenes Ollie nails the character.  Spectacular body language and brilliantly timed acting.
Frank Thomas takes over when Mowgli turns away from Baloo: "Leave me alone!"
This encourages the bear even more to cheer up the kid and to make him feel better. 
It's time he learned to fight like a bear and roar like a bear. The beginning of a beautiful friendship.
Frank's Baloo feels a little heavier than Ollie's, but the difference is only slight, and audiences would never notice. The acting is so consistently great from one animator to the other that it feels like one mind is behind this sequence.

Milt Kahl gave Frank and Ollie a hand with a few refined drawings that added appeal and helped to solidify the design of both characters.

Long live hand drawn character animation, an art form led by American artists for 100 years. We'll see where this medium will go from here and where it will be cherished and renewed. 










Archery Tournament Characters

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These wonderful character studies for the movie Robin Hood were drawn by Milt Kahl.
Ken Anderson again provided rough sketches first, and Milt refined the designs.
To me these are among the best looking characters for any Disney film from the Xerox era.
The draughtsmanship and charm in these knock me out.
Every one of these personalities has star qualities, something I call magnetism. You can't take your eyes off them. And the way Milt is able to draw wings, pigs' feet or dogs' paws functioning as human hands is astonishing. 
In the words of Ken Anderson: 
"Every one of Milt's drawings is a triumph of brain power".









Dalmatian Art

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The more I think about it, the stronger I feel that "101 Dalmatians" is the most modern of all Disney animated features.  Artistically this is the peak, right here. A film which embraces modernism and a gutsy graphic style never attempted before or since. 
It is almost surreal to remember that this movie is over 50 years old! So why hasn't Disney Animation advanced even further in the decades following Dalmatians? I think part of the reason is the fact that Walt Disney himself did not care for this "artsy" look. He probably thought the film looked rough and too unpolished.
To me the beauty of it is that it makes a statement which challenges the audience:
Look, this is a sketch, but it is alive and real at the same time.

And of course audiences completely bought into this concept and embraced the movie.
Come to think of it, Disney experienced another breakthrough not so long ago:
Mike Gabriel's short film "Lorenzo", which took pencil animation to the next level.
More on that in an upcoming post.

Above and below, concept art by Ken Anderson, inspired by Ronald Searle.
The anatomically correct Pongo caught me by surprise.



Story sketches by the one and only Bill Peet.







Avant-garde Vis Dev by the one and only Walt Peregoy.




Final frames from the film reveal the sheer joy of experimentation for an animated film.



Wartime Short Films

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Many of you know that the Disney Studios produced a number of propaganda animated shorts during WWII.
In "The Winged Scourge" the Seven Dwarfs demonstrate how to fight the spread of mosquito born malaria.
The sketches above by Milt Kahl show a rough layout for Dopey and Happy. 
The kid on the same sheet is from "Education For Death", him and his classmates are being brainwashed in Nazi philosophy.

Years ago Charles Solomon and myself conducted a few interviews with some of Walt's animators, and Frank Thomas recalled this episode in regards this short film:

"The worst one of all was "Education For Death"…oh, lordy! 
Now Kimball got the good part of that, he got the Goerring and Hitler and Brunhilde, he had the fun stuff to work on, while Milt and I got these awful scenes of real kids, and drew them like real kids and make them look convincing. And they're talking German, and on our readings it had all German. Try to animate it, embarrassing.
Milt and I were going upstairs for some reason, and we were standing at the elevator. Milt said "We ought to kick Walt right in the ass for doing this type of thing", and all of a sudden the doors opened, and there was Walt. So I couldn't resist, so I said, "Here he is, go ahead!" 

Here are a few rough Milt Kahl drawings for another wartime short called "Reason and Emotion". It is an extremely clever and effective film that sends a warning of when emotional and reasonable impulses go unbalanced.




Ken O'Connor on Cheating Perspective

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This is an interesting mini lecture by Disney layout artist and art director Ken O'Connor on how to cheat perspective effectively.
Ken worked on many of the Disney classics and shorts for a period of over thirty years.
I had the chance to meet him on a couple of occasions when he gave talks at Disney Animation.
The man knew what he was talking about. He was extremely skilled and enjoyed problem solving when planning layouts for animation. 
Born in Australia in 1908, Ken moved with his family to the US in 1930. He started at Disney in 1935 and before retiring in 1978 he taught at CalArts. He passed away in 1998. Ken was an artistic giant within the Disney organization.


Beauty and the Beast Outtakes

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I was looking through my files and found these design drawings I did way back for the early version of "Beauty and the Beast". The scans are xeroxes colored with markers.
At that time we had Maurice's sister in the story. She was part of the household and insisted that Belle marry the wealthy Gaston, so the whole family -especially herself- would benefit from the marriage.
It created an interesting dynamic, but everybody felt that a selfish, cruel character like her would draw parallels to Cinderella's stepmother.




This design was based on a sketch by Jean Gillmore.




Various ideas for Maurice.





I was asked to base one design on the actor Jack Lemmon.



Gaston was already vain and full of himself, but not like the outdoorsy type from the final film.
This guy lived the good life. He wore expensive clothes, had servants and never worked a day in his life.
He sort of looks like a young Marlon Brando, which was unintentional.



I don't think these are particularly good drawings, but they show you that we went into different directions at the beginning of production.

Robin Hood as a Stork

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Ken Anderson drew this terrific concept sketch of Maid Marian and Robin Hood, disguised as a stork. I love the difference in hight between the characters, it makes the staging more interesting than what you see in the film, where the Stork is drawn a lot shorter.
Maybe the taller version made it too difficult to have him communicate with Maid Marian, Prince John and the other characters.

Milt Kahl tried to figure out how this costume would actually fit on the fox' body. He is showing how the stork legs could be manipulated, and how the wings are attached to Robin's arms. 
It's a realistic and logical approach on how to handle the outfit, but in the movie the Stork is animated more freely without analysis of the costume's mechanics.





When the beak opens Robin's jaw is exposed inside.




Most of the Stork's character animation was done by Frank Thomas who focused on how Robin Hood would act in this disguise.

Joe Rinaldi

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Joe Rinaldi was one of Disney's great story artists. He was a very gifted draughtsman, too, and his boards are a pleasure to study. As I mentioned before, because of the appeal and those confident lines his work often gets mistaken for Bill Peet's.
Rinaldi's first Disney story credit was for Dumbo. He worked on many short films and features up until Sleeping Beauty. 
Born in 1914 he unfortunately lived a short life, he died in 1974 at the age of sixty.

Frank Thomas said once that Joe had a lot to do with what was great about Lady & the Tramp.
So here is a sampling of Joe Rinaldi's story work from that film.















Farm Animals

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I believe these colorful story sketches for the film Mary Poppins are the work of Don DaGradi.
They sure foreshadow the movie's rich Technicolor look.


According to songwriter extraordinaire Richard Sherman, DaGradi was able to visualize just about anything in only a few seconds. That spontaneity made it all the way up to the screen.
The movie's storyline is very uncluttered, accessible and pretty darn magical.
For me the animated sequences are of course the highlight of the film. They were animated by Disney's top animators. Frank and Ollie did the penguin waiters, Milt Kahl animated the fox hunt, and John Lounsbery focused on the horse race, and earlier on the visit to the farm. All of it great stuff! 
Milt came up with the final designs for the farm animals, and every one of them is a gem.
Those sheep with their heavy wool make for great characters, and the lamb's anatomy is delicate and charming.
The work horse is a heavier version of the Captain from 101 Dalmatians, and the cow's design elements also remind us of that film. 
But it's the pigs who jump off the page. There have been a number of various pig designs in Disney animated films over the years, but these are hilarious. Basically a sausage shape for the body, the legs are tiny, and the eyes are a just couple of dots. 
By the way, these model sheets were printed and distributed exactly FIFTY years ago!
The reason these drawings still look so fresh today is because the quality of their designs remains unmatched. Call me old fashioned….




Nanny

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That is character actor Don Barkley, who provided live action reference of the character Nanny for Disney's 101 Dalmatians. He also acted out scenes with the Badun Jasper and the TV character Dirty Dawson. A performer with great range!

Nanny from Disney's 101 Dalmatians was primarily animated by Ollie Johnston, but there were a few other artists who had a hand in designing her appearance.
Based on Bill Peet's  story sketches character stylist Tom Oreb came up with these wonderful designs. The animators pretty much kept the qualities in these drawings, except for her slightly elongated upper lip, which distinguishes her from the the Fairies in Sleeping Beauty. I would have preferred to see Oreb's mouth configuration in the animation. 





Milt Kahl pushed the proportions further and added realistic eyes.
The shapes in his sketches are definitely inspired by Oreb, but Milt always had his own sense for graphic perfection.






Ollie Johnston softened the design's angularity a little to the point where he would feel comfortable animating Nanny. Ollie created a great walk for her.




Frank Thomas explored a range of proportions.






Here he is helping Ollie with motion analysis and staging.





Nanny is a very sympathetic character, protecting those puppies means everything to her. She could have been handled as a much more comic type, but her loyalty to the Radcliffs and her affection for the dogs make for a warm, motherly personality.

First Mama Odie Test

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A while back I posted a Mama Odie experimental scene, but this one was the very first animation I did with her.  When I was doing  the rough pose test I still saw the character with chubby arms and hands. Madame Mim was on my mind, so I stayed away from skinny limbs. 
But I was asked to make the adjustment, as you can see in the tighter inbetweened version. And I saw right away that those proportions worked better.
For final production the scene was restaged, and I re-animated it accordingly, but the ending stayed intact. Of course eventually I added more neck mass, which was too much fun to incorporate into her dialogue with all that squash and stretch.
Jennifer Lewis gave me one of the juiciest voices I ever worked with.



Robin Hood & Little John in Drag

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Milt Kahl sure likes a good challenge.
When Robin Hood and Little John are running to catch up with Prince John's coach, they also put on gipsy clothes at the same time to disguise themselves. The characters are having fun doing this, so the acting needs to reflect their attitude, combined with a run that keeps changing pace.
Milt tried to get as much comedy out of this situation as possible, especially in Little John's animation.
This kind of work requires an enormous amount of concentration and planning. 
Of course the end result looks flawless, natural and very entertaining. These scenes are great for frame by frame study. There is so much going on here, but everything reads clearly. The character weight, the clothes' overlapping action, the overall staging, just beautifully analyzed.

These are a couple of Milt's thumbnail pages, he is trying to figure out how Little John might put his hat away and replace it with a wig.




A model sheet made up of key drawings from a couple of scenes. I marked one drawing NG, it is out of order and belongs elsewhere in the scene.



Four original roughs that Milt discarded (followed by a few copies). This is what his first pass looked like.
As you can see the character remains in the center of the pages, running in place. 









Robin stops for a moment to take time to pull down his dress.
These drawings reflect a slightly older design version. Before the scene was sent over to be xeroxed, his neck was widened according to the final model's look.










The film Robin Hood might not be one of your favorites, but still…it is full of animation gems that are worth taking a closer look at.

James Bodrero

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                                                                                          ©LIFE

James Bodrero (in the center of the photo) could draw horses.
And Walt Disney knew this, that's why he asked Bodrero to storyboard large sections of the Pastoral sequence in Fantasia. All that interaction with Bacchus and the Centaurs is his work.
Not much later Bodrero was chosen to join Walt and El Groupo on a trip through several South American States to study and sketch local culture and folklore.
Not much sketching going on in the photo above, but he seems to be enjoying a dance lesson which is being filmed by Walt Disney himself.

A stunning character design sketch depicting a couple of centaurettes and a faun.
This casual situation reminds me of the work of Heinrich Kley.



These drawings made during the South American trip leave me somewhat speechless.
They seem effortless, and yet everything from anatomy to the characters' outfits is so well observed and put on paper with sheer joy. Some of my favorite Disney drawings  ever! These horses….oh boy!!





Animator Frank Thomas becomes a subject in this Bodrero sketch.



Bodrero left Disney in the mid fourties, he enjoyed traveling and particularly fell in love with Spain.
Him and his wife had residences in San Francisco as well as Andalusia on the Costa de Sol. 
In 1965 he published a book titled "Long Ride to Granada", a sort of travel log through the South of Spain. Here are a few beautiful illustrations from the book.






James Bodrero in his later years.
He passed away in San Francisco in 1980 at the age of 79.


Three Tigers...

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…by three different artists. 
The first one is by Heinrich Kley. I purchased it quite a few years ago during a visit to Munich.
My first impression of this piece was straight forward realism. But the more I studied it the more abstractions I found. Kley played strong horizontal, vertical and diagonal lines against each other. This is a very organized head study of the animal, volumes are simplified to a point where this almost becomes a caricature. I just love the design of the black stripes with its thick and thin lines.
There is a grid drawn over this oversized sketch, which almost certainly indicates that Kley did this as study for a large mural.

Fritz Hug's tiger also has a sketchy quality with typical splashes of paint going right over the image.
I like the fact that he corrects certain parts of the body, but you still see the original position of the rear leg, the elbow and the front left paw. A beautiful raw study, probably done at the zoo.



Liu Jiyou's illustration on rice paper was done at his studio.  Before painting he would come up with endless sketches in front of the animal until he felt confident enough to draw specific poses and compositions at home. The angle and perspective of the tiger's head is stunning.


Researching other artists' approaches to drawing and painting tigers has become part of my studies in preparation for my film "Mushka". 

Bernard & Bianca

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What a challenge this must have been. How do you design interesting looking mice for a new Disney animated feature, produced  in the mid seventies?
Over the years animation studios had used an endless variety of mouse characters, so to come up with new concepts for these rodents wasn't easy.
Newcomer and story artist Fred Lucky had spent some time developing The Rescuers as an animated film, and these are some of his design suggestions.

They might not show a lot of appeal yet, but at least they are different.



For more info on Fred Lucky go to this link:

Here is a look at how Milt Kahl, Frank Thomas and Ollie Johnston approached these two characters.

Milt Kahl tried to incorporate some of Fred's ideas into his own design research.
Milt is definitely trying something new here, these sketches almost look like he drew them left handedly.




Proportions and volumes look  a bit more solid in these pages.




Just an awesome sketch, period!



Still a long nose, but chubbier than earlier versions. I do like this Bernard quite a bit.



The idea here is to treat the eyes like real mice, just large black dots.
It limits the range of expression somewhat, and tends to look kind of spooky.



Milt then applies what I call the Robin Hood formula, only the ears and the tail remind you that these are mice.





After the noses got shortened these versions were approved as final designs.




Frank Thomas explores early design concepts.



These pages show how Frank stages the situation in which Bernard and Bianca meet for the first time. Simple scribbles that reveal acting possibilities.



A few charming Thomas key drawings from an actual production scene.




Ollie Johnston tries out various proportions for anthropomorphic mice.



And this is his take based on Fred Lucky's sketches.



Then Ollie explores a concept that for some reason resembles Basil of Baker Street, a character that would make it to the screen quite a few years later.




Bianca in 1970ies outfits.



Ollie's chubby, long nosed version.



Again, these huge black pupils wouldn't have worked.



Bernard as he appears in the film. Beautiful solid sketches.




A rough production drawing.



It is interesting from a psychological point of view that people are freaking out when they see real mice, but ever since Mickey Mouse audiences don't seem to get enough of them when they are animated.

More Disney Staging

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Here are a few more staging studies I did a while ago. 
All of them fantastic examples of outstanding draughtsmanship with focused arrangements of shapes and lines. Milt Kahl drew most of them except for the last two images.

Madame Bonfamille is offering Frou Frou a sugar cube. 
There are plenty of lines which connect the two characters visually. Madame's reach is supported by the coat folds in her upper arm. And what beautiful hands, the open one, but also the one holding the package. Those bars from the coach ending at the horse's neck and the reigns guide you toward Frou Frou's head, which is tilted downward toward the hand.
A graphic masterpiece.



Robin Hood and a wolf composed in a dynamic triangle.
A lot of the line work points upward to the area where the swords make contact, but the characters' heads communicate back and forth. Robin's hat and the feather, his ear and his nose point to the wolf, and the wolf's ears and the lines in his hood revert back to Robin.



"You are too soffft!" 
Medusa wiggles Snoop's nose, and that's what Milt wants the audience too see clearly.
Medusa's arm seems to create a little detour toward the area of interest, but all other lines support the overall staging. Her neck, the flow of her hair and the direction of her nose. The back of Snoop's body connects with the temple of his eyeglasses which points to Madusa's face.



The King from the Island of Naboombu ellbows the Secretary Bird.
Plenty of lines lead to the characters' contact . Hysterical reaction on the bird.



Roger and Anita during a playful moment.
The drawing style is very shape oriented, but because there is great variety in the shapes' forms and sizes, nothing looks flat and awkward. It is almost like a carefully assembled mosaic with an end result full of rhythm. And what great profiles on both of their faces!



John Lounsbery animated this scene with Mim as a snake threatening Merlin as a mouse.
Snake bodies always give you an immediate, positive direction. Merlin's straight uprise pose contrasts the snake's  curviness. It says something about their personalities, too.



This is a lovely Ollie Johnston scene.
Baloo and Mowgli are having a great time in the water. Their body language signals a sort of explosion. All limbs are stretched outwards to emphasize a particular musical beat.


Marc Davis & Frank Thomas on Walt Disney, Acting Coach

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Another excerpt from a UK TV show featuring the life of Walt Disney.
In this clip Marc Davis and Frank Thomas describe what an asset Walt was when it came to getting a hold of an animated character. 
I remember Ollie Johnston telling me how Walt acted out Baloo's entrance, dancing, finger snapping and singing. Next time you watch that sequence from The Jungle Book think about Walt Disney as the inspiration for the character.
If you want to know who Walt Disney really was, just listen to the artists who worked with him.
They are the ones who tell you the truth !!


Ken Hultgren

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Ken Hultgren lived a short but very productive life. 
He started his career in 1936 at Disney , where he eventually became an animator on the short film Farmyard Symphony. Hultgren then moved to the Bambi unit, where he did character design and animation. As you can see in these two model sheets, he was a very gifted draughtsman.
Lots of appeal in these drawings. Hultgren is comfortable sketching the animal from every angle.
He was only 24 years old when he did these.




I remember talking to Milt Kahl about Ken Hultgren, and that I was very impressed with the way he drew animals. Milt recalled that Ken had animated a few scenes with the Stag, Bambi's father. "I had to redo those, they weren't working."
Be that as it may, Hultgren put out a great book in 1950 called "The Art of Animal Drawing".
Early on as an art student in Germany I found it quite difficult to draw animals at the zoo.  When I got my hands on a copy of this book and flipped through the pages several light bulbs went off. For the first time I saw realistic drawings of animals in motion with an animator's point of view.
The way he divides the body into three parts, then twists and turns those parts to get rhythm and motion was a revelation to me. It really helped to get a logical understanding of animal anatomy in motion.
Hultgren is particularly great with horses and deer (even if Milt disagrees).
The book has been in reprint for decades and is available at Amazon. I highly recommend it. 
You don't want to draw just like Hultgren, but you will benefit from the clarity of his anatomical sketches.






He doesn't always get it right though. This deer walk is flawed.
It is the rear leg contacting that releases the front leg ON THE SAME SIDE of the animal, not the opposing side as it is falsely shown here.
You can still use this walk for reference, just flop the front legs.


After leaving Disney in 1943, Hultgren animated for many other companies in town. He also made a name for himself as a prolific comic strip artist, illustrating stories for Disney and characters from other studios. In the late 1950ies Hultgren returned to Disney to animate on the short Paul Bunyan and the feature Sleeping Beauty.
He died in 1968 at the age of 53.


Vance Gerry & Ollie Johnston

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Story artist Vance Gerry came up with these beautiful sketches in which he explored the bond between Penny and Rufus from The Rescuers. Vance always drew from the insight out, meaning that what motivated him were things like atmosphere, personality relationships and clear staging within storytelling. 
A sentimental sequence like this one where Rufus tries to cheer Penny up could become saccharine very easily if in the hands of lesser artists. 





It is interesting to see how animator Ollie Johnston applied Vance's staging to his animation. 
The poses on the bed at the beginning are practically identical. When the story artist, who has given the situation a lot of thought, offers sketches so well worked out, why not use them?
Penny's dialogue is: "Gee, we better hurry, or we'll be late for supper."  Ollie synced his animation beautifully with the two accents  HURRY and SUPPER. Penny lifts up the cat on HURRY, and then she makes her first step forward on SUPPER.
I love the weight of the cat, Rufus almost falls through Penny's arms when she adjusts her grip. Then when she moves screen left the cat's body moves screen right for counter balance.
And it's nice to see Ollie's rough lines under the clean up. 
Wonderful stuff!








If you print out these sheets and flip through them you will learn a lot, I promise.

You can watch the scene at the end of this youtube clip:

Behind the Scenes of "Pinocchio"

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How about a little time travel to the late 1930ies? 
The Disney artists are finishing up their work on Disney's second animated feature Pinocchio.
Joe Grant's character model department produced small sculptures like the one above for the title character.
Sequence director T.Hee is being filmed acting out scenes as the villain Stromboli.
Animator Bill Tytla will take this footage and go to town with it.




The layout department is busy with a sequence which takes place inside Monstro, the whale. I don't know who the artist in the picture is, but look at the photographic reference he is using.



Over in the effects department a lecture is taking place on animating water bubbles.
I only recognize a young Jack Boyd, on the top left. He was still doing effects for The Fox & the Hound before retiring.



In the Ink & Paint building across the street masterpieces on cels are being produced.
I doubt this inker knew that the cel she is finishing up would be worth around $ 10.000 some day.



A story sketch from the sequence where Pinocchio, still with donkey ears, reunites with Geppetto and Figaro.



Animator Milt Kahl is staging that scene for animation. Look at the flow in these drawings. Pure love on paper! 





Here is an article published in the magazine Popular Mechanics from 1940, more photos from behind the scenes. (I apologize for a few missing lines of text.)
What a great time for animation, and what a great medium!!






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