More Liu Jiyou

These stunning paintings appear in a book on Chinese painters, which I recently purchased.
Beautiful brushwork and gorgeous watercolor textures. Liu Jiyou studied Western painting and incorporated its realism into his own work. His art is bold and delicate at the same time.
How about an animated film in this style? Now that would be something!!

More on Liu Jiyou's art here in these previous posts:

http://andreasdeja.blogspot.com/2011/08/liu-jiyou.html

http://andreasdeja.blogspot.com/2012/11/liu-jiyou-2.html

Tease 3

I will be discussing this Maleficent scene by Marc Davis in my upcoming book The Nine Old Men.

Most key drawings will be shown in sequence. It is interesting to see how rough this scene is drawn, compared to Marc's drawing approach in his earlier work on the character, which is very clean and tied down. My guess is that by this time in production his clean up crew had become very familiar with the character, allowing Marc to draw loose and get through his scenes quicker.

Evil power combined with sophisticated elegance!

Jungle Book Layout/Background II

In this photo Disney background artists Al Dempster, Bill Layne and Art Riley are examining character color model cels and background paintings for The Jungle Book.
You can see that early edgier work by Walt Peregoy has given way to a more realistic, romantic interpretation of the Indian Jungle. I believe at this stage of production Baloo was painted as a brown bear, before Walt Disney asked for a different color (there had been plenty of brown bears in Disney films before.) Since Walt was no fan of the Xerox line, particularly in the backgrounds, he requested a less graphic and a more painterly approach toward the film's art direction.

A B&W still from the title sequence. Fantastic use of light.

Mowgli  walks through this setting  after parting ways with Bagheera, the panther.

It's interesting to see that the painters found it necessary to add black contours to background elements that would be in contact with a character. Bagheera walks over this branch, and since his outlines are black Xerox, character and background become a little more unified.

I've always liked the color mood in this scene by Ollie Johnston. Look at how Mowgli's red shorts pop in front of the lush green tones.
A German journalist once told me that part of the reason why Jungle Book was his favorite animated film was the fact that you spend over an hour in a richly painted exotic jungle. Very easy on the eyes.

Jungle Book Layout/Background

This has always been fascinating to me: The relationship between Disney layouts and final backgrounds. It is interesting to see what the background painter changed from working with the layout. For example, the layout above from The Jungle Book suggests a dark, cloudy sky, a storm might be approaching. The BG shows sunlight, mid day.

Comparing the two, I would say that I prefer the dark foreground level of vines and branches in the layout. The highlights in the final painting compromise the depth of field.

I wonder how much Disney's layout and background artists used to argue over color, contrast, light etc. 

Tease 2

This gorgeous Merryweather scene by Frank Thomas will be part of my book on The Nine Old Men. The most important key drawings will be shown in sequence.

Louis Prima

What a great photo montage with King Louie next to jazz musician and trumpeter extraordinaire Louis Prima, who also voiced the character. The Sherman brothers wrote the signature song "I wanna be like you!", and Richard Sherman still raves about Prima's vocal energy and improvisational quality he brought to the character and the song. The "scat dialogue" between him and Phil Harris as Baloo was Prima's idea.
If I would look at a concept like this one today, mixing American Jazz with (elements of) Kipling's Jungle Book, I would probably call it a bad idea. But boy...it works like gangbusters!

Hilarious concept sketches by Ken Anderson and a cel from a Frank Thomas scene.

Milt Kahl's early stunning animation. Yet Walt Disney asked for slightly larger eyes and more hair on the top of the character's head. Those changes were made by Milt's assistant Dave Michener.

A clean up model sheet of Louie's sidekick Flunkey, beautifully animated by Frank Thomas.

More on King Louie here:

http://andreasdeja.blogspot.com/2012/03/king-louie.html

Ruthie Thompson

During the Legends Lunch a little over a couple of weeks ago I was happy to see a true Disney Legend, Ruthie Thompson. The first time I met Ruthie was five years ago, when she visited Disney Animation Studios, she had then just celebrated her 100th birthday. She truly validates the notion that most animation artists enjoy a long life. In this photo you are looking at a vivacious lady at 105.
Ruthie started at Disney in the Ink & Paint department during the production of Snow White. About a decade later she transferred to animation checking and scene planning, a department she would later supervise. Scene planning was very much involved in the technical aspects of multiplane scenes such as the flight over London in Peter Pan.
A while back I asked her what one one of her most challenging assignments might have been. She paused for a second and and said that the opening scene from Sleeping Beauty took a lot of brain work, since there were endless characters involved on endless cel levels.

How can you not love Ruthie Thompson ?!

Here is a link to a recent Vanity Fair article, featuring Ruthie and other Ink & Paint artists:

http://www.vanityfair.com/culture/2010/03/disney-animation-girls-201003

Coming to a Bookshelf near You...

...toward the end of next month:
- Hardcover, almost 400 pages
- Hundreds of drawings by the Nine Old Men, most of them never published before
- Insight into their creative process
- Stories about their artistic triumphs as well as occasional failures and disappointments
- Profiles of each animator's career achievements
- and much more...

It turned out to be the kind of book I wished I had when I was an art student.
Preorder it from Amazon, you'll have an early Christmas:

http://www.amazon.com/gp/product/0415843359?refRID=FMQBBQ9J0QDNN0P9YEV2&ref_=pd_rhf_pe_p_img_1

Wart as a Sparrow

In this scene Wart (as a sparrow) seems for a moment smitten with Madame Mim (as a beautiful Girl). Why Mim looks like a younger version of Madame Medusa here becomes clear when you consider that Milt Kahl designed and animated  both ladies.
He also set the final look for Wart (as a human as well as a sparrow.)

Here are a couple of wonderful, rough doodle sheets, which the ink & paint department used for early color model ideas.

More on Wart's original design in this earlier post:

http://andreasdeja.blogspot.com/2013/10/wart.html

Disney Mix II

You can find great Disney art within many stages of film production. This color sketch by Mary Blair for Alice in Wonderland is amazing to me. She uses the most intense red as the main backdrop without making it look garish. Unbelievable!

I love this publicity drawing for the short film The Whalers. The basic staging element is a dynamic triangle. Donald's and Mickey's attitudes are as usual opposite. What beautiful poses on the characters, and what great inking!

A spooky mood study for Night on Bald Mountain. Twisted perspective and eerie lighting result in a nightmarish atmosphere.

A charming pen/ink/watercolor study by Mel Shaw for The Fox and the Hound. Looking at it, the overall style is somewhat like my film Mushka. Sketchy, lots of white and selective color.

A beautiful record cover for Cinderella, inspired if not painted by Mary Blair.
Perfect color choices!

Art Deco in motion. A film frame from the end of the Pastoral sequence. Pure elegance!

Albert Hurter's studies show the interaction between Snow White and the Huntsman. These early drawings already show attitudes and acting.

What a brilliant concept for a candle holder. The poor guy is definitely concerned about the approaching flame over his head. A prop study for Pinocchio.

And because we love her so much, another Mary Blair concept piece for Alice in Wonderland.
Wonderful scale, helped by the tiny cow and Alice's head covered by half a tree.

D23

What a weekend!

!!!

I have no idea why I did this...

With Kathryn Beaumont-Levine during our lunch.

With Roy Patrick Disney, his wife Sheri and Roger Viloria.

With Ron and John.

With Dick Van Dyke and Sybil Byrnes, daughter of Milt Kahl.

Check out this LA Times article:

http://www.latimes.com/entertainment/herocomplex/la-et-hc-andreas-deja-20150813-story.html#page=1

World Lion Day

August 10 is World Lion Day.
In light of the recent horrific events surrounding Zimbabwe's lion Cecil, it is important to reflect on these magnificent animals...and their dwindling numbers in the wild. If you want to help, here are links to a couple of reputable organizations who are making a difference in preserving precious wildlife:

http://worldlionday.com

http://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions/Lion.aspx

Let me tell you, there is nothing more satisfying than having your own art show and donating the proceeds to animal conservation efforts. I have done it, I highly recommend it.

Which brings me back to The Lion King. I remember animating this scene during Scar's introduction.
"Life's not fair, is it? You see I...well I shall never be king. And you...shall never see the light of another day!"
This wasn't my first scene with Scar, I had done a few walks and very short dialogue scenes. But when animating this moment I started to feel the potential for the character. The mouse was beautifully animated by Brian Ferguson.

But my very first scene for The Lion King was this one. A Black Rhino rising early in the morning. I remember it like yesterday, the directors told me: "Now Andreas, this is the very first animation in the film. People will judge - is this going to be a good film or not?" Talking about pressure.
I ended up animating the scene about seven or eight different ways. Nothing seemed right to the directors.
I had the rhino lift up the head in perspective, in profile, different types of timing...etc. The final verdict was: "Well, I guess this will do."
Oh brother...I thought. Am I going to have fun animating on this movie?
Did I ever. Those were just early jitters. Scar remains one of my favorite animation assignments.