We made a music video featuring Richard Sherman's "Mushka's Lullaby".
The wonderful Holly Sedillos is featured during her actual recording. The amazing Synchron Stage Orchestra Vienna is playing the music.
Have a look:
https://www.youtube.com/watch?v=PAuegQPcmT0
The song was arranged by the great Fabrizio Mancinelli, who also provided the film's score.
Negotiations regarding MUSHKA's distribution have only just begun.
Russel Hall animated most key scenes with Jessica. His take on the character is unique as you can see in these two spectacular rough drawings. Her sensual qualities could have been portrayed in a cliche, overly cartoony way. But Russel developed a brand new animation style, based on realism and American pin up. He was the perfect animator for this character.
If you know Russel's work, you find that he was equally capable of handling broad exaggerated designs as well.
Congratulations to Mark Henn for receiving the Disney Legend Award!
I worked with Mark on the same sequences from time to time. Here are a few of my favorites.
King Triton argues with his daughter Ariel. I said this before, I was practically animating my own father when he gave my teenage sister Christa a hard time for returning back home late after an evening out. James Baxter also drew a few scenes here toward the end.
I have written before about John Lounsbery's involvement in the character of Robin Hood. He started him off by animating a few scenes, before Milt Kahl took over Robin.
Early designs by Ken Anderson showed Robin with a thin neck and long nose. Then Milt added a bigger neck for a spiffier appearance.
The first three drawings are Lounsbery's. They are available at:
https://www.animationartgallery.com/category-s/18702.htm
I am thrilled to add these two relatively small original drawings to my modest Wilhelm M Busch collection. Two centaurs, ball pen, and a circus backstage scene, pencil and color pencil.
Pure draughtmanship, a feast for the eyes.
These are various bits and pieces from scenes that show my first rough animation pass. After approval I redrew the animation in light blue and graphite for a more detailed version that would help clean up artists tie down their final drawings.
Probably animated late in 1988.
I am not sure who the actors are who provided live action reference scenes for the animators here. But I do know Milt Kahl animated this section of the film.
When asked about working on the two characters Milt said that they weren't too much fun, but that they worked ok for the story. The earlier introductory scenes of the King and Duke were animated by a different animator, and at that time Milt felt compelled to re-draw all of those scenes in order to improve the poses and overall draughtsmanship.
Today is Eric Larson's birthday. This is also post # 1500. I am re-posting the first blog image from June 6, 2011. The pic was taken by Hans Bacher (I believe in 1980) as I am paying attention to Eric's animation demonstration.
Eric is reviewing a pencil test on an old Moviola. From left yo right: Bill Frake, Kathy Zielinski and Matt O'Callaghan.
Yesterday was Frank Thomas' 112th birthday. His work and the films he worked on have become timeless masterpieces. When reflecting on his animation career Frank said that he always felt lucky to have been at the right place at the right time. Aptly called "The Laurence Olivier of Animation" he set himself very high standards when it came to creating a performance. Someone asked Frank once about now he felt about his accomplishments. He responded by pointing out that 2 or 3 scenes (out of all he had done) met his standards. He did not say which ones.
People who worked with him said that he was impossible to please. There was always...always room for improvements. Disney was so lucky to have such an animator who helped elevate the art form.
The first photo shows him in his office working on Miss Bianca for The Rescuers, around 1976.
In the next pic we see Frank at the premiere for the film in 1977 along with actress Eva Gabor, who voiced Miss Bianca.
I believe Al Dempster painted both of these visuals for the Counsel Rock scene from the Jungle Book. First the color sketch, then the final background (with the characters cel overlay).
Both absolutely stunning!
I just discovered these two Kley drawings online. It is unusual to see his sequential work, or in this case A, B illustrations.
I suppose the first image might say: Come check this out! And the second one: Booo!
Great attitudes on the human figures as well as the the fantasy ocean characters.
A few highlights from the recent Heritage Auction, featuring the art of Marc Davis. From gag drawings and personal notes to Picasso-esque art. This man expressed himself in a multitude of ways.
The sculpture of him was a gift from Imagineering to Marc upon his retirement.
This is not the first time I post beautiful animal drawings by Swiss artist Fritz Hug (1921 - 1989). Especially his loose, sketchy work is very inspiring to me.
Many more images here at the new Fritz Hug website:
https://fritzhug-bildarchiv.ch/
Back in 1997, I had the privilege to help kick off a Hercules Mega Mall Tour as a promotional effort for the release of the film. It was a lot of fun, and I remember flying to Atlanta, Georgia with Roy Disney in his private jet. How cool is that!?
To be honest with you, Bernard and Bianca aren't my favorite designs for Disney mice, but when Ollie Johnston draws them...how can you not love these characters?!
Just like his mentor Fred Moore, Ollie's work has always such appeal. These are big drawings on 16 field paper. They had to be part of a pose test, because there is no way drawing #7 can follow #6 without any inbetweens.
So much emotion in these sketches! His words of wisdom to us young animators was:
"Don't put drawings on paper, put feelings on paper!"
In retrospect, that was the best animation advice I had ever gotten.
These are pages from a booklet that show what kind of character merchandise Walt Disney Productions was offering in 1949. As you know revenues from these products were essential in keeping the company afloat, particularly during the "lean" 1940s. The early 40s presented a very tough time because only Dumbo was profitable (and not by a lot).
It is mind boggling to realize that Pinocchio, Bambi and Fantasia all flopped when first released.
I enjoy studying the quality control over these items. Most of them look actually very nice. There is a vitality and a sense of joy to them.
There are a lot of pages, so here goes:
I posted this image of Milt Kahl drawings before. Here is Thomas O'Malley, the alley cat from The Aristocats, drawn with stripes. It is hard to imagine that during a time of tight budgets at Disney (post Walt), the studio was even considering adding this pattern on to the character. It would have taken longer and it would have been expensive to bring O'Malley to the screen.
Here are a couple of realistic "cat with stripes" sheets. They come from the estate of Ollie Johnston, though I am not sure if Ollie drew these. He might have, because Ollie ended up animating a lot of scenes with O'Malley...without the stripes.
I suppose I should have posted this image for Halloween. I drew this sketch while I was working at Disney's Orlando Studio, quite a few years ago. It is a rough layout for an illustration I never finished. Perhaps I can use it as the cover for my autobiography.....
A few stunning pieces by Marc Davis currently offered at Heritage Auctions. Mid Century American Modern at its best. (Or as Richard Williams called them: California Picassos).
