Bavarian Tigers

A while back when I was studying the style of American cartoonist superstar T.S. Sullivant, I came up with a few graphic exercises like this one. I tried to apply his complex illustration style to new ideas that came to mind.
In Germany, specifically in Bavaria, we have this dance, where folklore dancers slap their knees as well as each others cheeks for no reason but to entertain. So here are a couple of tigers, wearing lederhosen having fun in front of a Bavarian setting.

Even more on Milt's Sword in the Stone

One more in a series of posts regarding Milt Kahl's work on Sword in the Stone.
Milt loved working on this film, because his character design sensibilities and overall draughtsmanship dominate the movie. (This is the only time he got character design credit, along with Bill Peet.)
He did plenty of drawings for fellow animators to improve the characters' appearance.
The following two sketches were done for Frank Thomas scenes.

This one is for an Ollie Johnston scene.

Being the fisherman that he was, Milt probably enjoyed designing the villainous pike.

Milt drew these poses of Madame Mim as a rhino, ramming into a tree, for John Lounsbery.

A sequence of drawings from one of his own scenes. Sir Ector is arguing with Merlin over the issue of Wart's education: "I'm running this place, and if you think you gonna fiddle (with my schedule, you better pack up your bag of tricks and be gone!)" 

The scene was re-used and extended later on in the film when Ector is wearing armor.

A final frame including both characters.

By the way, if you want to see a pristine HD version of The Sword in the Stone, check out Amazon Prime TV. Disney's DVD release years ago already looks very nice, but to see it in such high definition on Amazon is pure joy. For the first time you can fully appreciate Walt Peregoy's incredibly  inventive color scheme for the film.

Unfortunately I can not recommend the film's Blu-ray release, I find it unwatchable. The characters look like they were animated with thick sharpies.

For more of Milt's drawings from the film, go here:

http://andreasdeja.blogspot.com/2011/12/sword-in-stone-christmas.html

More on Milt's Sir Kay

In this scene Kay walks away from Wart at the end of the dishwashing sequence. Wart is defending Merlin's magic, while Sir Ector proclaims that young Hobs instead of Wart is going to be Kay's squire.
Kay adds:"Ah, that'll teach yah tah pop off, yah little pipsqueak!" He lifts up his sword in anticipation of cutting a broomstick in half (during the next scene.)
Look at how Milt has Kay's near foot coming through, as the heel is leading. A Kahl signature piece of movement.
Great rough animation drawings (even though these are copies of copies), before Milt's assistant would clean them up on the same sheet of paper.

More on Milt's Sir Ector

 

I love this size sheet made up of Milt Kahl drawings. What a great variety of characters defined by unique proportions and shapes.
As Frank and Ollie noted in The Illusion of Life, the human characters in Sword in the Stone were animated without life action reference. (Though a few scenes with Wart were actually filmed, performed by two of director Woolie Reitherman's sons).

Here are a few rough animation drawings by Milt, taken off the Sir Ector model sheet. They appear in the film during the dish washing sequence. Well worth studying frame by frame.
There is this great scene where Kay is trying to get his father out of the wash tub, before he ends up in it himself. Great comedy animated with terrific weight.
And the drawings themselves aren't half bad either!!

Another one of those sheets that somebody put together with Milt's rough animation drawings.

Go here for my previous post on Sir Ector:

http://andreasdeja.blogspot.com/search?q=ector

More on Milt's Merlin

These sheets were put together during production of The Sword in the Stone. They show partial Milt Kahl drawings, focusing on Merlin's head as well as his hands. At that time Milt couldn't be bothered with creating model sheets that show the character's construction, turn around etc. 

He would start off with a few scenes for a character, then it was up to one of his assistants to arrange poses for model sheets. The tricky thing is that other animators like Frank, Ollie and Lounsbery had to figure out by themselves what the exact proportions are and how to work with Milt's graphic shapes dimensionally. Not an easy thing to do!

Jafar by Nik Ranieri

Nik animated a bunch of great scenes with Jafar way back. He also did this sketch of - I think you know who. This was late in production when we were animating Jafar with a Sultan hat.

I sure wish Jeffrey well in his future endeavors.

Bruno Bozzetto

Bruno Bozzetto is an Italian genius! This photo shows him outside the Disney Animation building with Ollie Johnston, Frank Thomas and Eric Larson sometime during the late 1970s.
Bruno has won acclaim and many awards over the years for his exquisite feature films as well as short subjects. Signor Rossi (below) is a character I enjoyed watching on German TV as a teenager.
He is your everyday Italian man, who copes with life's challenges.
Wonderful design!!

Bozzetto produced and directed several animated feature films such as The SuperVips (My Brother the Superman) from 1968. Limited animation used brilliantly.

Probably his most famous animated feature is Allegro Non Troppo from 1976. This film is a tribute/satire on Disney's Fantasia, and it is "fully animated", 12 to 24 drawings per second. After I saw the film as an art student I was mesmerized by its craftsmanship, its intelligent storytelling and its beauty. I wrote Bruno a fan letter with an added sketch, and he responded by sending me a letter with an added sketch!!
Ward Kimball loved this film. He told animation students to study the Ravel/Bolero sequence. To him it included some of the best animation ever done.

A frame from the film's the Sibelius/Valse Triste sequence. So brilliant!

The Bolero illustrates the beginning of life on Earth...the Bozzetto way.

For the love of God, if you like hand-drawn animation, get a DVD copy of Allegro Non Troppo:

https://www.amazon.com/Bruno-Bozzettos-Allegro-Non-Troppo/dp/B00014NE6M/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1480571699&sr=1-1&keywords=allegro+non+troppo

Try Ebay as well. The film is a masterpiece!

I had the chance to meet Bozzetto on a couple of occasions. He is one of the nicest men still working within this art form, and my conversations with him continue to stimulate me.

Studying Sullivant

I did these sketches based on T.S. Sullivant's illustrations a few years ago. When a particular artist fascinates you, it's a good idea to take a closer look and analyze why the stuff looks so amazing.

By re-drawing, not tracing, you can absorb the unique line work, shapes, rhythm, forms, and proportions in a way that makes you think. Maybe there is something there that you can incorporate into your own work. It's not a question of wanting to draw like this artist, but instead letting yourself be inspired.

I applied this method to Heinrich Kley, Albert Uderzo and others. 

Some people call this: Standing on the shoulders of Giants.

Here is the link to my first Sullivant post, many more followed:

http://andreasdeja.blogspot.com/2011/06/t-s-sullivant.html

A Great Lounsbery Scene

John Lounsbery animated this hilarious moment from The Jungle Book. Colonel Hathi prevents the Bugler elephant from sounding the alarm prematurely. 

Bugler forms the instrument with his trunk, and responds to Hathi:"Yes, sir!" He then blows the "horn" before Hathi's trunk blocks the air flow. What a crazy idea to have the now trapped air backfiring, filling up Bugler's cheeks. At he end they deflate with a silly sound effect, his ears wiggling. 

Great drawing, great timing, great comedy, (before the gag was re-used in Robin Hood).

I love the way Louns works with all that loose flesh during squash and stretch.

Everyone of these drawings is priceless.