Peter Pan Rough Layouts

I find these layout sketches utterly magical. Disney artists who researched and designed environments were wizards. Even the house of the Darling family, in- and outside, is presented with a dreamlike quality. These guys knew how to use light and shade so effectively, it not only helped set the mood for a sequence, but their art became a major part of the film’s overall storytelling. The characters’ surroundings communicate their emotions just like the acting does. 

I look at these atmospheric backdrops with a sense of awe, partly because this is the kind of work I myself can not do. That’s why I am forever grateful to layout and background artists who gave my own characters an interesting and beautiful world to live in.

These drawings are probably the work of Ken O’Connor or Ken Anderson. I’m sure some of you know the name of the rightful artist. If you do, I’d appreciate it if you would leave a comment to let us know.

In this film frame Wendy takes a final look at Pan’s ship as it sails away toward new adventures.

Hook has a Cold

After his rough encounter with the Crocodile at Skull Rock, Captain Hook manages to get back to his ship, where a bad cold plagues him. Frank Thomas animated this sequences with Hook wheezing and sneezing while cursing Peter Pan at the same time. The acting is just incredible in these scenes, each gesture shows Hook’s unsuccessful attempts at easing his pain. Everything has proper weight, the hot water bottle over his head, the blanket covering his back and his body in general.

This is also an example of outstanding use of live action reference, which was provided by the character’s voice actor Hans Conried. Frank chose a few of his important acting moments and translated them inventively into graphic motion. 

Stunning character animation, the kind that makes me feel so passionate about drawn animation.

Frank explores key poses that reveal Hook’s agony. Beautiful sketches by an animator who proclaimed that drawing didn’t come easy to him. 

This amazing clean up drawing is currently being offered at Heritage Auctions:

http://www.ha.com/c/search-results.zx?Nty=1&Ntk=SI_Titles&N=793+794+791+792+1893+1577+2088+0&No=0&Ntt=animation+art

Eventually Smee enters Hook’s cabin. He ends up poring way too much hot water into the tub, before sharing rumors about Peter Pan and Tinker Bell.

This set up does not include matching cels. Smee is holding a thermometer, but Hook already has one in his mouth. Still, what lovely artwork.

Busch Horses

Wilhelm M. Busch was good at drawing anything, but his illustrations depicting horses show the artist’s special connection with the animal. The reason could be the fact that horses are readily available drawing subjects in Germany. At the races, sporting events and at farms.

These book illustrations date back to 1977 for the edition of “Reitvorschrift fuer eine Geliebte” (Riding Rules for a Lover)…odd title.

Every one of these pen and ink/brush images is a gem. So inspiring. Refreshingly formula-free.

Just thorough observation, knowledge and emotion!

I did one wire sculpture of a horse and a rider a while back…I’ve got to do another one.

Character Relationships

Staging personalities together in a way that brings out their personalities is a quality Frank Thomas was very good at. He knew well that having contrasting attitudes among characters helps to create interesting situations. Playing them off each other brings out their emotions and identities.

Frank’s characters always come off as sincere, real types, because they are based on actual life observation. No tricks, no formulas…instead his animation reminds everyone of somebody they encountered in their lives.

Above, Fauna and Merryweather contemplate the idea of raising Princess Aurora secretly in the forest. Fauna adores the idea while Merryweather has her doubts. 

In this drawing from the unproduced short film The Laughing Gauchito Frank faced the challenge of having the main character act with himself in a mirror. This becomes more of a technical challenge, since the reflection moves exactly like the Gauchito, just in a different perspective (a problem that obviously doesn’t exist in today’s CG animation).

Ichabod Crane dances with Katrina. Frank explores various staging ideas that show Ichabod’s pursuit and Katrina’s willingness to play along. 

A pirate on Hook’s ship threatens Smee. The pirate’s force dominates this situation, while Smee is portrayed as intimidated and helpless.

Here Captain Hook corners Smee, a great visual for action and reaction. 

In this little doodle Jock and Lady share a moment in which either one is interested in the other's thoughts. They both lean toward one another to examine what’s on the other’s character’s mind.

Jock seems to offer comfort, and Lady is willing to accept it.

The Three Fairies have just sent Aurora into the forest to pick more berries. Now that she is gone they immediately go on with their business to prepare for a surprise birthday party. Flora is leading the way (right in character), while Merryweather closes the door.

Pongo has just picked up Lucky, who was shivering in the cold snow. He has no problem carrying the little pup, who is helpless and limp as a flower sack.

Easy to read attitudes in this character composition. Wart is flabbergasted toward the affection this strange girl squirrel is showcasing. I love her little arms holding on to Wart, and keeping him from moving away (temporarily).

King Louie shows ape like behavior when examining Mowgli’s head for any kind of insects. The boy naturally is annoyed and tries to free himself. A great scene, Frank did every single drawing for it.

Baloo takes a liking to Mowgli, who has not yet accepted the bear as an ally. Eventually he comes around, which is part of the joy of The Jungle Book.

Here is the link to an earlier post on this subject:

http://andreasdeja.blogspot.com/2012/05/character-rich-staging.html

Sleeping Beauty's Lackey

The character designs for the film Sleeping Beauty are highly inventive and groundbreaking. Other studios had already experimented with short films that looked very different and modern. These productions showed limited movements with their flat, graphic characters. 

Disney’s first experiments, using break-away, contemporary designs, go back to 1954’s Toot, Whistle, Plunk and Boom.

But Sleeping Beauty was the first animated feature in which Disney character development and acting were combined with fully animated stylized personalities. 

The Lackey has only a small role, but his few scenes are extremely well executed. 

You have a very skinny character who’s costume adds bulk and contrast. The design sketch above is by Milt Kahl, who animated most of the personality scenes.

Here are a few rough keys from his introductory scene. 

King Hubert has just called for the wine, and the Lackey rushes in with a bottle and two glasses on a tray. I love the way Milt animated him running as he almost looses control of his hold on the tray.

Another great Kahl scene in which the Lackey performs a secretive wine tasting.

He carefully checks on the two kings who are busy in conversation. Feeling unobserved, he lifts up a glass for a sip. He immediately is interrupted by King Hubert’s boisterous voice and quickly places the glass back on the tray. His final expression shows an attempt to cover up guilt of having done something against protocol. 

Just look at the graphic power in these drawings.

John Sibley also animated a few scenes, no doubt under Milt’s supervision.

This is one of John’s rough key drawings.