In the previous scene Anita gently ridicules Roger's musical talent. "What clever lyrics!"
Roger: "Melody first my dear, and (then the lyrics)."
Milt Kahl is in full command of the human figure here. This allows him to play with the design of each drawing. Roger's neck would look way too long, but with his shirt's collar taking up much room, it looks perfect.
What an awesome arrangement of shapes. Flat and dimensional at the same time.
And of course Milt masters the most tricky head angles, look at # 27 through 35.
The one thing I can't tell is wether any live action was used for this scene. On Roger and Anita Milt used live action reference for many scenes, but he also avoided it when he didn't like it.
I can't say I really understand how this drawing style works, but as for the animation- From the charts it looks like he animated it on twos himself, and assistants filled it in on ones. Is that right? Was it typical of him to work that way?ReplyDelete
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I was recently re-watching the DVD, Frank and Ollie, and the segment of yourself and Glen, going through the Disney archival materials to understand how each animator worked, I was struck with the idea, how would you describe your interpretations of Bill Tytla's work? was fortunate in 2006, to find and purchase an animation production drawing of Chernabog, near the end of the sequence, covering his eyes as the last morning bell is tolling. it is stamped in the corner , so i know it was used in the completion of a "cell", it is a part of the process, before it is sent to the "clean-up" animator, so it has 3 color pencil in its rendition,.....AND, it is a 2 sided paper, with another image of the same character on the flip side. It has been trimmed or cropped to 11 inches by 11 inches, and during the time it was drawn, was the late "depression" era,ReplyDelete
sincerely Eric Turner, email@example.com, i am curious what it may be worth on the open market or at auction. the unknown blog august 12 2018 at 11:31pmReplyDelete
The inbetweening charts (on drawings 17, 53 and 73) indicate that the whole sequence was to be on twos. Milt drew 27, 29 and 31 because it was a fast flick round of the head and the angle on 27 was tricky and could not have been left to an assistant. So the whole sequence was on odd numbers and drawings such as 25, 33, 37, 41 & 43 were left to the assistant to inbetween evenly. 17 looks like it could actually have been a hold, as it needed to register before the rapid snap out -- does anyone know if that was the case, or was it inbetweened out very closely? Odd that there is no I/B chart for that, unless there is actually a Milt drawing missing from the sequence.ReplyDelete
I only published the main keys from the scene, not all of them.Delete