Summer is in full bloom!

Out in the Garden in July...thinking about trains that connect with Animation Art

Well summer has fully arrived in Alaska and I thought I would share some pieces that keep me inspired as I spend more time outside away from my collection.   July is one of the best times of the year to have fun in my own little Disneyland in the backyard.  The past couple of weeks, I have been busy working in the garden and in particular tending to my G scale train garden that takes up a prominent place in the backyard.  

This garden is my little oasis during the summer and I love to find plants in scale and create a real living world in miniature.  It is a lot of fun.

So how does this relate to animation?  Well I have a love a trains and it is always interesting to find my love of trains in animation.  In 2002, Disney released to theaters the film Return to Neverland and also sold at auction 11 unique backgrounds and numerous production drawings.   Shown below is one of the backgrounds that was sold and depicts a train station in London.  I did not purchase this at the original sale but years later at an animation auction.  This beautiful hand-painted production background is from an early sequence in the film which pans from left to right and shows Line 4 and cast of people awaiting to send the children of London off to the countryside during World War II.   The background displays a wonderful scene of a classic British steam engine loosely based on the famous Flying Scotsman, with an overlay of a brick wall on the left side.

                              Original Production background, gouache on board

                              Acquired:  September 8, 2008

                              Layout Artist:  Adrian Thatcher

                              Background Artist:  Barry Dean

                            

If you watch the final film you will notice that Disney manipulated the sky to include military blimps flying above.  This background is huge and measures just over 4 feet wide and a full 12 inches high.   This piece reminds me of the station that I built in the garden years before.  

A few years after I purchased the piece, I stumbled upon a blog by Adrian Thatcher.   He just happened to be the layout artist who worked on the train background for Disney in both Toronto, CA and in Sydney, Australia where the film was eventually animated.  As I struck up a conversation with him l learned a few additional hidden features about the piece.  Disney artists are known to add fun elements to their art and this production was no exception.  Adrian, who is an Emmy award winning artist in animation shared with me that the numbers he placed on the train had particular meaning.  The number on tender was Adrian's age when he drew the piece (also his son's birthday) and the sequence on the front of the engine including the Line No "4" on the wall represents his birthday in a different form.    If you start in the middle of the number sequence and read the year backwards you will discover that the piece was created in 2000.  Interestingly, studio rules at the time dictated that layout artists needed to complete 8 layouts per week, however this one was particularly difficult and took four days to finish.  You can click on his blog link (above) to see a more detailed view of his original layout.  Below is another image of the engine numbers on the front.

                                       Original Production background, closeup

What is also amazing is that this piece was designed in Toronto, painted in Sydney, Australia, shipped to Los Angeles for archiving, then sold to someone on the East Coast of the US, subsequently sold in New York City and now resides in Anchorage, Alaska.  This piece has traveled over 23,000 miles around the globe!  Animation is truly international!

So to round out the train theme....here are a few more shots of garden.  This is the best time of the year for it!  Enjoy!

Overall layout of the train garden

Passengers waiting at the station!

Steam Engine making the turn around the lake.

Making a turn on high mountain scape.

Dreams really do come true...if you just believe!

Cinderella 
Released:  February 15, 1950
Worldwide Box Office:  $85,000,000

Well this week is a special one as it is my mother's birthday this Saturday, July 12.   So a bonus post with a wonderful drawing from one of my mother's favorite animated films, Cinderella.  This film came at a much needed time for the Walt Disney Studios and went to help bolster the studios bank account and credibility.  The film received three Academy Award nominations and was critically acclaimed to be the best animated film since Snow White.

The key animator's drawing here is form the sequence where Cinderella has been transformed by her Fairy Godmother into a beautiful princess, one fit for a royal ball.  This sequence was animated by Marc Davis and his rough drawing below shows great expression, poise and beauty.  Marc Davis was a master draftsman and was known for his ability to draw Disney female characters.   His rough drawings are exquisitely done and are almost clean-ups themselves!  You can almost imagine the sparkling pixie dust that surrounds her in new ball gown in the drawing.  In this scene, Cinderella excitedly states to her Fairy Godmother and friends, "And look!  Glass slippers!......Why its like a dream!   A wonderful dream come true!"

                              Original Production Drawing, colored pencil and graphite 

                               on 16 field animation paper

                              Acquired:  May 6, 2012

                              Artist:  Marc Davis

                              Sequence 3, Scene 4.1

This drawing is just simply beautiful and so I thought I would include a closeup of the detail and expression that Marc Davis put into his rough drawing.  It doesn't get any better than this!

My mother, who grew up in the 50's is every bit the princess and as beautiful as this drawing represents!  Happy Birthday Mom!  Enjoy!

Coming back to Winnie the Pooh!

Winnie the Pooh and the Honey Tree

Released:  February 4, 1966

Well, I thought I would come back to a previous subject and to follow-up from my Sister's birthday last month.  If you remember my earlier post honoring one of Kim's favorite characters Winnie the Pooh, I have finally found some time to assemble a more respectable image of the production background and the production cels that I was able to find over the years.  

First up is a better view of the complete setup.  It measures out at 16 field and the cels were trimmed to outline of the characters and placed on a new cel.  It includes a number of production markings and also mentions, someone by the name of Mimi?  I wonder want  she played during the production of this featurette.  I was not able to find any film credits on her.  The background appears in the film in sequence 1 in scenes 540.1 and 550.  Below is how the new composited production setup looks. 

                              Original Production Background Setup, watercolor on paper

                                gouache on trimmed celluloid

                              Acquired:  May 20, 2011

                              Artist:  Unknown

                              Sequence 1, Scene 540.1, 550; Sequence 2, scene 119

As mentioned earlier, the production cels have been trimmed to outlined and placed on a blank 16 field cel.  They really go well with the production background.

                              Original Production Cel Setup, gouache on trimmed celluloid 

                              Acquired:  December 20, 2009

                              Artist:  Unknown

                              Sequence 2, Scene 116

                           

Finally, here is more detail view of the production background.  It is painted in a soft palette of watercolor with ink highlights and even perhaps xerographic printed image of the background layout.  Unlike my other background from this piece does not have a Xerox overlay cel of the original layout drawing.  The colors are rich and subtle and I love the way they really make the characters come alive in the scene.

                              Original Production Background Setup, watercolor on paper

                              Acquired:  May 20, 2011

                              Artist:  Unknown

                              Sequence 1, Scene 540.1, 550

The background was clearly painted before April 27, 1965 as noted by the date for when the piece went under the camera.  A full year before I was even born!   The painting was done up on a thick type of paper similar to my other Winnie the Pooh master setup featured in an earlier blog.

So can anyone tell me who Mimi is?  What do you think?  

More on Maleficent!

Maleficent
Released:  January 29, 1959
Worldwide Box Office:  $599,000,000

Well, I had to post some more things about Maleficent.  I went last week to see the film and thoroughly enjoyed the spectacle of all.  As mentioned in last weeks posting, Maleficent is one of my favorite villains...or I say now hero as well?  

Disney's new twist on the story added depth and heart to her character in way that very  nicely changed my perspective on Maleficent, which was largely based on my interest in Disney's Sleeping Beauty.   It was really interesting to see how elements of the original story continued to make its familiar way into this newer story.  I particularly loved the scene where Maleficent states...."I too shall bestow a gift..."  I found myself "singing" along through this scene as I have watched that sequence many times in researching animation art over the years.

Another interesting twist was how they actually introduced the "dragon" into the story, which was much different from the original.  I don't wish to spoil any plot lines here, but considering how they changed the story, essentially no element was left out ...or as it related to Maleficent in my opinion.  Anyhow, I thought I would share a couple of layouts next that I picked awhile back that are great drawings in the development and staging of the original fight sequence with Maleficent.

                              Original Production drawings, graphite onouache on animation paper

                              Acquired:  May 20, 2011

                              Artist(s):  Unknown

                              

Both of these drawings worked up in graphite and stage the scene where Prince Philip fights Maleficent who has taken over King Stefan's castle.  Both drawings were done on very wide animation paper and show some great expression, not too mention action.  I particularly love the fiery effects against Philip shield.

So for a more climactic moment, next up is one of my ultimate favorite cel setups, the scene where Philip and Maleficent battle on the cliff in the end.  Cel setups from this scene are very rare and even more rare are complete images of her as the dragon, let alone getting on of Philip in scale.

                              Original Production Cels, gouache on celluloid

                              Acquired:  November 21, 2005

                              Artist(s):  Unknown

This setup have been trimmed down from the wide technirama celluloids typical used in Sleeping Beauty as it was filmed in 70mm cinemascope.  Philip is on a separate cel and Maleficent's cel overlays both placed on a hand-painted custom presentation background.  I usually don't care for presentation backgrounds unless they were created at the studio or were preliminary production pieces, but considering cels from this sequence are incredibly rare I fell in love with the piece.

A couple of the details with this piece that really are amazing include the hand-inked lines all throughout.  This was not one of the scenes that Disney employed the newer Xerographic technology.   Maleficent is outlined in three different colors - green, black and yellow and she includes transparent paint applied beautifully to her wings and gills.  Philip in comparison is hand-inked with hues of black, grey, brown and marroon.  I love the detail of his face and sword.  Some great work just creating the animation drawings on the original cels.  In a later post I promise to share more detail.

So, if you haven't seen Angelina Jolie bring Maleficent to life in real life on the screen....go!  You will thoroughly enjoy it.  It adds a new dimension to the early film, the art and the fantasy of it all.

Malificent....Powerful and Strong!

Sleeping Beauty
Released:  January 29, 1959
Worldwide Box Office:  $51,600,000

Well up this week, I thought I would share some of my favorite drawings of Maleficent considering the recent release of Disney's film starring Angelina Jolie.  Maleficent is one of my favorite villains from one of my favorite films.  So keeping this real simple this week, here are few pieces with the dialog that you can just imagine in your mind Eleanor Audley speaking in her distinct voice.

First up from the beginning of the film, where Maleficent learns that she "wasn't wanted" by Merryweather.  Maleficent comes back, "Oh Dear, what an awkward situation....!"

This is a nice 16 field drawing of her and Diablo, signed by Marc Davis.  I love her expression and particularly the way Marc positions her finger and hand by her face to give just that extra touch of wicked elegance.

After she gathers her thoughts, bestows her "sleeping" gift, Maleficent expresses,

"Stand back you fools!"

This is also a nice key animators drawing of Maleficent complete in full figure with flowing robes, staff and fingernails!

Next up is a great a publicity photo I picked up last year of Eleanor Audley being filmed for the animated sequence.  In this sequence Eleanor is acting out the scene for when she retorts violent toward her Goons for looking for a baby all these years.  

A few years back, I was offered a wonderful collection of sequential drawings of Maleficent from the dramatic scene.  What was particularly fun was the way I was able to bring back to life in my hand her "wrath and fury" as I flipped the drawings.  This sequence was beautifully drawn on wider "technirama" animation paper and shows how they mastered her fiery robe to express her emotion.  There are also some great facial expressions in this very short but active scene.  Here she screams as she pulls up her robe and staff in this sequence,"Imbeciles!  Idiots!"   

This sequence was animated by Ambrozi "Amby" Paliwoda who was from my home state and born inCleveland, Ohio.  He worked at the Disney studio from 1935 to 1960 and was awarded the Animation Guild's Golden Award in 1985 for his lifetime work.  In a later post, I promise to share the full sequence complete with my re-created pencil test.  It is a great sequence. 

What do you think?!

Discovering Winnie the Pooh!

and Happy Birthday to Kim, too!

Winnie the Pooh and the Honey Tree
Released:  February 4, 1966


Well up next I thought I would celebrate yet another family event and a nice discovery.  June of 2014 has had a lot of fun family events and to round them out I sharing a neat story about a wonderful set of production pieces from one of my sister's favorite films, Winnie the Pooh.  My sister's 45th birthday is this month and I thought this would be a fun post.

Next up is a production cel setup that I acquired several years back of Pooh getting stuck in Rabbit's door.  As befitting Pooh's character, his love for honey has gotten him into trouble and literally stuck!   Christopher Robin comes to the rescue along with Kanga and Eyeore to attempt to pull him out. Unfortunately, it doesn't work and Pooh has to learn a lesson.  "No more honey!" as is so eloquently quoted by Rabbit.  Below is a two cel setup of the characters that were trimmed and attached a new cel.  It was paired along with a photographic background of Rabbit's front door.

                              Original Production Cel Setup, gouache on trimmed celluloid

                              Acquired:  March 29, 2009

                              Artist:  Unknown

                              Sequence 1, Scene 540.1, 550

       Original Production Cel Setup paired with photographic background

One of the fun things about collecting animation is learning about and discovering new pieces and ways to display and interpret the art up close.  As luck would have it, a few years later I discovered a production background from the original film from the same sequence and scene that I could pair up with the cel setup.   

                              Original Production Background, watercolor on paper

                              Acquired:  May 20, 2011

                              Artist:  Unknown

                              Sequence 1, Scene 540.1, 550

After compositing the production elements together digitally, I now have a more complete and wonderful key master setup (or pretty close too, it!).  Once I get the chance to physically composite I will share a new image.  What do you think?   

                              Original Production Setup on Master Background, 

                                 gouache on celluloid and watercolor on paper

                              Acquired:  December 20, 2009

                              Artist:  Unknown

                              Sequence 2, Scene 116

 Happy Birthday Kim!

A Little Magic adds a lot to life!

Magic, A Father/Daughter and a Happy Ending

Well, today is a special day and I thought to commemorate it was only fitting that post a couple of pieces in honor of my oldest nephew, Cameron and my newest niece, Laura.  Today on June 6 in Carillon Park located in Dayton, Ohio, Cameron married his longtime elementary and high school sweetheart.   As tribute to symbolize the magic in the relationship, I thought I would post three different pieces I know the happy young couple would enjoy.

First up is piece from one of Cameron's favorite Disney films, The Sword and the Stone.  This key master setup features the young Wart who loses his way only to land at Merlin's table.   This setup is comprised four elements, all of which are production.  I love the magic in the scene as Wart discover the Sugar Bowl.  Merlin has also nicely left him some chocolate chip cookies on a plate for him.  If you look closely can you notice Merlin's ghost in the sugar?

                              Original Production Setup on Key Master Background, 

                                 gouache on celluloid and watercolor on paper

                              Acquired:  December 20, 2009

                              Artist:  Unknown

                              Sequence 2, Scene 116

Next up, a piece from newest niece, Laura's favorite animated film, Mulan.  I guess this piece which is also a key master setup is fitting for the day as Cameron was with me when I purchased this piece from the Mulan Sotheby's auction in New York in 1999.  This key master setup includes a beautiful background of the magnolia tree in which Mulan and her Father meet.  How nice considering today, Laura and her dad will have a special meeting point on her wedding day.  Comprised of a single character cel paired with an original production background this piece expresses the essence of the story in many ways.

                              Original Setup on Key Master Background, 

                                 gouache on celluloid and watercolor on board

                              Acquired:  March 6, 1999

                              Artist:  David Wong

                              Sequence 3.9, Scene 34.5

      

The final piece is a simple rough animation drawing of the Prince and Cinderella from the end of this 1951 classic film.  I love the simplicity of this nice drawing and I felt it was appropriate to this post with a happy send-off on Cameron and Laura's adventure in life.  I wish them well and can't wait for them to visit soon!

                        Original Production Drawing, graphite and colored pencil on 16 field paper

                              Acquired:  March 1, 2009

                              Artist:  Unknown