Wednesday, January 28, 2015
German animal artist Wilhelm Kuhnert (1865 - 1926) is somebody who's work seems to get better the more you study him. At first glance his his drawings and paintings communicate the kind of bland realism that is so typical for a number of modern wildlife artists. But then dramatic, non formulaic poses of big cats and other wildlife emerge, showcasing the artist's unique observation. Unlike some other artists of his time, who studied animals at zoos, Kuhnert actually travelled to Africa, India and other places to see lions, tigers and elephants up close.
For obvious reasons I am very interested in his depiction of big cats. Wether resting, stalking or hunting, Kuhnert always finds the most intriguing poses to portray the animal's emotional state. By contrast his environments often don't come up to the quality of his painted animals.
See what you think!
Sunday, January 25, 2015
We all know that the villainous tiger in Disney's The Jungle Book is a Milt Kahl character, but you'd be surprised to find out how many artists had a hand in creating this iconic bad cat.
Milt himself stated at one time that he really can't claim full ownership of a character he animated, because of other people's involvement in shaping its personality. He said, you've got the voice, which is so important, the story work as well as input by the director and other artists.
Milt felt like that by the time he gets his hands on the character, his contribution might be relatively minor.
Well...that's being overly modest, Milt never made any "minor" contributions to any of his animated characters.
Let's take a look at Disney artists who were involved in Shere Khan's development.
Story man Bill Peet doodled these poses, shown above, on a writing pad. Great drawings, but no specific character type is emerging yet. Peet left the studio early on in production of the film, his overall vision of Jungle Book clashed with what Walt had in mind.
Ken Anderson produced a ton of sketches as he explored the film's villain. This drawing still lacked menace, too comical.
I believe the following story sketches are Ken's work as well. By now he shows a tiger, who is confident, arrogant and above it all.
Go here to see story artist Vance Gerry's work on this sequence, and how it compares to Milt's final staging:
A publicity photo of actor George Sanders, who provided the tiger's voice, next to his animated alter ego.
A model sheet made up of Milt's magnificent animation drawings. Draughtsmanship and performance for the ages.
More on Shere Khan here:
Saturday, January 24, 2015
Disney female characters are among the most difficult to animate, depending on the degree of realism in their portrayal. Look at this clean up drawing of Cinderella, which was drawn right over Marc Davis' rough drawing. Simplicity, elegance and appeal. Her face is perfectly depicted, if you are off by the width of a pencil line, this character would look like an alien from outer space. All facial features need to be drawn within perfect proportions without looking technical or cold. I don't think draughtsmanship like this exists today (which is not necessarily a bad thing), this was the art of that particular generation.
Years earlier, before Disney got into animated features, two 1934 short films The Flying Mouse (pictured below) and The Goddess of Spring tried to portray a female character with realism. The result did not please Walt Disney.
By the time Snow White went into production, Walt knew that live action reference was necessary to convincingly bring the title character to life. And only top draughtsmen were assigned to her animation and clean up drawings. Marc Davis created these delicate clean ups over animator Grim Natwick's rough animation. The scene shows Snow White reacting to the Witch's sudden appearance by the kitchen window.
The film's Evil Queen, animated by Art Babbit, demanded the same thorough and accurate draughtsmanship. Every pencil or ink line needed to define the character's subtle forms perfectly.
A rare rough animation drawing of Pinocchio's Blue Fairy, who represents American female beauty from the 1930s and 1940s. Gorgeous!
Les Clark drew some of the nature fairies for Fantasia's Nutcracker sequence. Not easy to portray a nude character with such innocent charm. This section, though mostly effects animation, ranks among my all time favorite moments in Disney Animation.
Fred Moore created the look for many Disney girls during the 1940s and early 1950s.
A beautiful rhythmic key drawing from the short Casey Bats Again, a charming character doodle of a skinny young girl and a model sheet from All the Cats Join in, another favorite of mine.
Walt Disney stated once that he was amazed to see the quality of draughtsmanship on a cel, which was traced from a clean up drawing that was traced from a rough animation drawing.
With each tracing and re-drawing some loss of drawing quality is bound to happen. But when you have a super dedicated staff, that loss is minimal.
These two cels from the film Cinderella are proof that the studio's process allowed brilliantly drawn characters to make it to the screen.
Again, Cinderella's face looks beautiful, even after having been re-drawn several times.
Iwao Takamoto's super precise clean up studies over Marc Davis' animation. At this point Disney's graphic portrayal of a female heroine reached a level of sophistication never seen before. The stuff takes my breath away.
Marc Davis sketched Maleficent, before turning the image into a color design drawing.
Though theatrical, flamboyant and dramatic this character still required realistic handling in order to come across convincingly. One of the greatest Character designs in Disney history.
Marc's next villainess also ranks among the greatest in Disney history. Cruella De Vil is ugly, but you just can't take your eyes off her. She might be Disney's gutsiest design ever. Sometimes I wonder why Walt didn't stop Marc and asked him to tone her down. I am VERY glad he never did.
Watching Cruella on the screen makes me almost giddy, and happy to be a part of this fantastic medium.
Madame Medusa is Milt Kahl's swan song before he left Disney. The story material was not as outstanding as Cruella's, but in many ways Milt outdid himself as an artist and thought outside of the box. The make up removal sequence alone is animation history.
Cruella and Medusa are caricatured villainesses, but their drawing base is still realism. They move with real weight, hand gestures are impeccable and every head angle is convincing as well as intriguing.
Images Disney/Heritage Auctions
Thursday, January 22, 2015
The animators who worked on The Sword in the Stone all agreed that The Wizard's Duel was a highlight of the film. This is pure character animation material, two sorcerers turning themselves into a variety of animals in an attempt to crush the opponent. This story sketch showing Madame Mim as a dragon (a rule breaker) is by Bill Peet, who not only boarded this sequence, but the entire film.
Milt Kahl pretty much kept Peet's design intact while polishing it for the dragon's final appearance.
Milt basically redrew poses from Peet's story boards, making only minor adjustments so the character would fit into the overall styling of the movie.
Milt himself didn't animate any footage with the Mim/Dragon, Eric Larson ended up drawing those scenes.
Here is Milt's very graphic version.
You can find much more on the Wizard's Duel in this earlier post:
Monday, January 19, 2015
I need to ask Alice Davis about the title and date of this beautiful color sketch. An amazing graphic composition emphasizing straight against curved lines. Look at the fluid movement of the python contrasting the bold straight lines of the giraffe's neck. There is no doubt in my mind that if Marc didn't have careers in animation and imagineering his contributions to American illustration and art would have made him a world renowned fine artist of the 20th century.
Get the book Marc Davis, Walt Disney's Renaissance Man:
Friday, January 16, 2015
The huntsman blows his horn, and the pursuit begins for that scrawny, little fox in Disney's 1964 film Mary Poppins. Milt Kahl animated key scenes for the fox hunt, he also came up with the final designs for the horses, riders and the fox. Brilliant character research, influenced by illustrator Ronald Searle.
John Lounsbery animated the following two scenes beautifully, maintaining the design sensibilities in these Milt sketches. The final scene shows the horse with a monocle, just like the rider. The idea goes back to the opening sequence from 101 Dalmatians, where dogs and their owners share a definite resemblance.
An original, but discarded ruff from one of Milt's scenes featuring the nervous, but spunky little fox.
For more on this character go here:
The welcoming committee at the races consists of a beautiful variety of stuffy seniors. A Milt Kahl scene done very effectively with limited animation.
Thanks again to my friend Wil for offering scans of drawings from his collection!