Blog reader Eli recently asked if I could post any Fred Moore drawings of Timothy Mouse from Dumbo. Here are copies of key drawings from the moment where Timothy re-appears from inside a wooden tub filled with champagne. This is only the first part of that scene.
I love that one fast, unpredictable move into the last pose. Here is a Youtube link to the the whole sequence:
https://www.youtube.com/watch?v=yTv9bTSEzgg
Everything that Fred Moore drew had appeal and charm. When he started at Disney in 1930 he was just perfect for the studio, and the studio was perfect for him. Here was this kid with a natural, instinctive talent for the kind of drawing that would change the Disney style. He enriched what had been done up to that point. His drawings looked like round little sculptures with super appealing proportions. His characters moved with a fresh squash and stretch approach, and they had real weight. Naturally all animators at Disney were asked to follow his lead. As Marc Davis said: "Fred Moore WAS Disney drawing!"
Here are a few of his rough drawings depicting kids.
Three gorgeous rough animation drawings on 12 field paper by the great Fred Moore. In the 1944 film The Three Caballeros Donald Duck is about to find out about the tradition of how to handle a Mexican Pinata. Panchito the rooster blindfolds Donald after handing him a baseball bat.
While Ward Kimball animated the movie's iconic theme song, Fred Moore animated spectacular scenes featuring Donald, Jose Carioca and Panchito.
About five months ago a Lady from Russia (I believe) posted these photos. She had seen this design sketch of the three Witches for The Black Cauldron on this blog, and she used the image as a motif for embroidering a collar. This blows me away. I feel flattered and flabbergasted.
This scene appears after the opening credits for The Aristocats. The kitten Toulouse has climbed on to the butler's head and is playing with the hat's plume.
Milt Kahl shows his mastery for how hands articulate an action clearly and beautifully. The first drawing is held for a little while with an eye blink on top. I love how Edgar's right hand reaches for and grabs the kitten. After that the same hand straightens out the hat before moving down to grab the horse's reins. Impeccable staging here. Edgar's head stays in profile pretty much throughout the scene as not to attract attention away from the hand action. And that action is the main thing in this scene for the viewer to follow.
Any animator who knows the mechanics of hands and how to apply those within the acting will always be ahead of the game.
I didn't get around to drawing up a new holiday illustration, so instead here are a few doodles for a scene from Mushka that is set in the winter. Actually the film includes a few sequences in the snow, but this one will look different in terms of rendering and camera moves.
I hope all of you are having a nice holiday season.
At Disney during Walt's time, there were numerous projects in development over the years, but then cancelled for one reason or another. One of them is Reynard the Fox. Developed in the 1930s at the studio over a few years, it was eventually shelved one day. The main character was too much of a thug and a rebel. Qualities Disney did not want to see in a title character.
Many years later, after Walt's death, the studio decided to produce the tales of Robin Hood, but with animal characters. Robin was going to be a fox, so for internal research, the artists referred back to what had been drawn for Reynard the Fox.
Milt Kahl ended up animating Robin, and I know that he referenced this vintage story sketch for one of the character's opening scenes. This is no coincidence. Look at the two poses! The old inspires the new. Lightning is going to strike me, but I have to admit that I prefer the lively story sketch over Milt's version.
This sketch is currently offered by Heritage Auctions.
