Michael Sporn Animation – Splog

- The brilliantly talented Rowland B Wilson, certainly paid his dues at a number of animation studios. We’ve seen his work with Richard Williams’ Soho Square studio and with Disney and Don Bluth’s Ireland studio.

Today, I have some sketches and designs he did for Disney while working on The Little Mermaid.

Not all of this material made it to the film, but the incredible wealth it brought the directors had to have affected the overall production. This invaluable material comes courtesy of Bill Peckmann.

The first group to view are Production Designs that he did for various sequences throughout the film.

All art displayed © Walt Disney Prods.

(Click any image to enlarge.)

The following are character designs Wilson did for The Little Mermaid for a character that never made it into the movie. Though, I think “Ink the Squid” may have developed into “Sebastian the Crab”.

Then there are some of the creatures seen above land at the Glaciar Tray which apparently was designed to be part of the film.

The migrating Caribou

There are pelicans and geese as well as mountain goats.

Then there is this short seqeunce of interaction between two fish:

All art displayed © Walt Disney Prods.

This material is a treasure. I want to thank Bill Peckmann for sharing it with us.
Rowland B. Wilson was an artist of the highest standard, and I can’t get enough of his work. True inspiration.

- Don’t forget that there’s a wonderful new book on the market. I’d like to keep it in your attention, hence I’m trying to give a lot of attention to the great work of Rowland B. Wilson.

Rowland B. Wilson’s Trade Secrets: Notes for Cartooning and Animation seems to offer quite a bit of attention to Mr. Wilson’s animation art as it does his brilliant illustration and cartooning. The book looks unique, and to have someone like Rowland as the guide to this world has to be a gem.

- Thanks to Bill Peckmann‘s extraordinary collection of design material, I have access to quite a few model sheets by Rowland B. Wilson.

His models for Don Bluth‘s feature, Thumbelina, fill a binder. I’m gong to have to break it up into two posts.

Here, I’ll reproduce the article Rowland had written for the in-house organ “Studio News.” This follows with models for some of the lead character models.

These models were done in pencil and ink, sometimes in color. Unfortunately, all of these are 8½ x 11 xerox copies. Blacks wash out and washes blacken. Regardless, they all come across fine enough to get the idea.

Any feature takes a lot of work. You can understand that just in the large number of model sheets that grace the production. When you have a talented artist such as Rowland Wilson doing that modelling for you, your art is off to a good start.

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Here we have the model that Rowland drew for Thumbelina.
This is definitely not the rotoscoped princess that we saw in the film.

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Here we have a lot of different costumes Thumbelina
will wear as she travels on her expeditions.

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An original idea – a character who wears
more than one costume in a film!

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Jacquimo Swallow

In color but copied in B&W.

Jacquimo 1

Jacquimo 2

Jacquimo 3

Jacquimo 4

Jacquimo 5

Jacquimo 6

Some other birds in the course of the film.

This film is far from the best of Don Bluth, but it goes to show how much solid work is done for any feature film. There’s also quite a bit to be learned from any feature. Many of these models didn’t end up in the film (take a look at Thumbelina herself in yesterday’s post) but the drive was a forward one.

Off to the modelshow:

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Another color one copied in B&W

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Some notes

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Finally, here are two color photos Rowland took of his presentation art.

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Given the new book coming onto the market, Rowland B. Wilson’s Trade Secrets: Notes for Cartooning and Animation, I thought it appropriate to take a fresh look at some of his brilliant art for the animated film.

Last week I showcased some material previously posted, which had been done as preproduction art for Disney’s Hunchback of Notre Dame. Today, we look back to some of the work for Disney’s Hercules. It’s all pretty stunning material. Unquestionably the work of a master.

This is a book that was put together by Suzanne Lemieux Wilson, and it looks to be as much about animation as about cartooning. I’m not sure exactly what’s in the book, but I’m certainly eager to find out, and will give you a report as soon as I see it.

- Here’s Hercules.
This entry includes character sketches for characters that developed into something completely different, or didn’t end up in the film at all.

Once again, I must express my debt of gratitude to the generosity of Bill Peckmann for lending me the art to post here. And to Suzanne Lemieux Wilson for some additional sketches. Thank you, both.

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Megara

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Hades – version 1

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Hades – version 2

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Hades – version 3

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Death

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Pegasus

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Centaus 1 drawing

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Centaurs 1 color

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Centaurs 2

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Bakeus – drawing

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Titans 1 – Bakeus – color

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Shakeus – drawing

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Titans 2 – Shakeus – color

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Titans 3

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Titans 4

These watercolors are less character designs than they are inspirational pieces. They are inspirational. How stunning this art. I would have loved seeing something like this on the screen rather than Gerald Scarfe‘s. But that’s just me.

As with some of the last posts, I’m showing the larger piece (and they are large) and then going in for some tighter blowups.

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(Click any image to enlarge.)

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Typed beneath this image:
HERC AND PHIL ADDRESS ZEUS ON MT. OLYMPUS
The realm of the gods is in the sky. The landscape is made of sky imagery –
the classic buildings, the trees, the hills are the colors of rainbows, thunderheads,
lightning, rain, hail and stars. Trees have tops made of clouds and trunks of rain
or lightning. Buildings evolve out of mist as do the gods themselves.
The gods can be large or human scale as needed.

In mythology, Zeus changed himself into a swan, a bull, a cloud,
and even a shower of gold.

Everything is as changeable and colorful as a sunset.

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Hercules and the Hydra.

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Typed below this image:

THE HOME OF THE GODS.

A skyscape. Trees, mountains and waterfalls appear and dissolve away.
We can see shapes in the clouds – temples and statues.
Lightning flashes and stars gleam in unexpected places.
The whole skyscape is slowly drifting.

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This ain’t heaven.

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This one looks almost as though it were painted
on black velvet – appropriately enough.

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Suzanne Wilson also sent these very rough cartoons RBW did:
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- When you post every day, there are gems that just don’t get long enough exposure. Bill Peckmann, at one time, had sent some preliminary artwork that Rowland B. WIlson did for a number of Disney and Bluth features. The wealth of material was enormous and it went too quickly into the past.

Given the new book coming onto the market, Rowland B. Wilson’s Trade Secrets: Notes for Cartooning and Animation, I thought it appropriate to take a fresh look at some of his brilliant art for the animated film.

This is a book that was put together by Suzanne Lemieux Wilson, and it looks to be as much about animation as about cartooning. Certainly, I think it appropriate to bring back some of this great pictorial material. NOW.

Here is the incredible cache of photostats that Bill Peckmann had sent me showing some watercolor paintings Rowland B. Wilson did while working for Disney. There are two groups of paintings: one for The Hunchback of Notre Dame, one for Hercules. These are the Hunchback images; Hercules will come next week.

These were all inspirational sketches, and they’re all extremely long. Consequently, I’m posting them in batches. The first comes from Hunchback, and I’ll post the full sized image, then break each down into a couple of parts so that you can appreciate the incredible detail Rowland did in these things.

I hope you enjoy them.

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The following group of images is labelled, “The Siege” and concerns itself with the climax of the film where the people storm Notre Dame Cathedral and Quasimodo pours oil on them. These pictures are so beautiful (and large) that I can’t help but split them up so you can see some of the closeup detail.

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(Click any image to enlarge.

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Now this is a Hunchback I could love.

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These two character designs look like they were influenced
by Richard Williams’ “Cobbler & the Thief.” Since Rowland worked
with Dick in London, it’s possible.

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Errol Le Cain by way of Rowland B. Wilson. Beautiful.

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At first I wasn’t sure which end was up on this image.
It might be correctly viewed counter-clockwise.
However, the label in the lower left should be the lower left.

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Here are a couple of additions, a few sketches contributed by Suzanne Wilson.

Many thanks to Bill Peckmann for the generous loan of this material.

- Bill lPeckmann has sent a stash of beautiful cartoons by Rowland B. Wilson from the pages of Playboy Magazine.

Before getting into this artwork, let me point to a brand new book on the market. Rowland B. Wilson’s Trade Secrets: Notes for Cartooning and Animation. This is a book that was put together by Suzanne Lemieux Wilson, and it looks to be as much about animation as about cartooning.

The book is available for pre-order from Amazon, and you should line up for a copy. You’ll remember that I posted lot of Mr. Wilson’s Disney and Bluth art for the animation art direction he did. I expect to repost a lot of that material again soon, perhaps when this book gets closer to hitting the market for real.

But, now we’re talking about Playboy. They did well by their artists and cartoonists; the printing was always first class and the amount of exposure was high. Rowland’s cartoons always jumped out at me as among the more sophisticated ideas, and the artwork was always top notch. I think you’ll enjoy these, and thank Bill for sharing his collection, yet again.

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You might check out some of these spot cartoons posted by Leif Peng.

- Picking up right where we left off last week, here are Rowland B. Wilson‘s TV Guide illustrations. In many cases it’s the rough drawings followed by scans of the color original artwork. The roughs came from Bill Peckmann‘s wonderful collection, the colored originals came from Suzanne Wilson. I couldn’t be more grateful to both of them and thank them profusely. (See part 1.)

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- Bill Peckmann had sent me a number of rough sketches by Rowland Wilson which I posted last week. These were for TV Guide spot illustrations that Rowland had done back in the 70s and 80s. The only problem was that we didn’t have many of the finished spots to show against the ruffs.

Well, this week I got an email from Suzanne Wilson, the wife of the late Mr. Wilson. She offered to send copies of the original watercolor artwork to show what the finals look like. Wow! So . . . here we have a large number of scanned originals from Rowland, thanks to Suzanne’s addition.

Since there are 26 of them, and I’ve decided to post the ruffs again alongside the originals, the piece got a bit long, and I’ve decided to break it into two. Today I’ll post all the sports pieces, and tomorrow the others. Not all of the ruffs have originals that match, and not all of the finals have ruffs to show off. Believe me, it’s a great post, and I think you’ll like it.

Because these are from the originals, I suggest you take some time and blow them up. You can see a lot of the artist’s hand in these, certainly more than you can in a printed copy.

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I had planned to post more of these great illustrations tomorrow.
Because of the death of John Severin, I’ve decided to hold off part 2 of this TV Guide post until next Thursday and instead post something in memory of Mr. Severin tomorrow.
Many thanks to Suzanne Wilson and Bill Peckmann for their generous contribution.

- The following are a collection of rough sketches that Rowland B. Wilson did in creating illustrations for TVGuide. These come from the extraordinary collection of Bill Peckmann. I’ve been searching for final, colored images to match these but haven’t successfully found any as yet. You’ll have to look at them for what they are: rough prep drawings for finals. In the past I’d posted a number of these with some of the final cartoons, so you can go there, if you like, to see how he built up from the initial sketches.

In all, I find it enormously informative to see the process from the beginning from such an artist as Rowland B. Wilson.

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Here is a self-caricature from 1987. (It’s from R.C. Harvey’s wonderful book
“A Gallery of Rogues: Cartoonists’ Self – Caricatures”

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This card shows a number of the TVGuide illustrations
that were done by Rowland B. Wilson. Notice #14
is the last one on thias card. Unfortunately, this
is the largest size I have of the color version.

To close it out, I have this image from Suzanne Wilson, from an original of a RBW TV Guide illustration:

Many thanks to Bill Peckmann for the hard work in putting this post together, and thanks to Suzanne Wilson for the final image.

Bill Peckmann continues to open up his collection of Rowland Wilson artwork. These are illustrations he did for a couple of magazines, predominantly, TV Guide. Bill’s comments follow with the images.

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This is a self caricature, circa 1970.

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When Rowland came back to NYC after his stint at Richard Williams in
1975, he did this mailer when he was at Phil Kimmelman & Associates.

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Here are the first of the TV Guide spreads

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Sadly, I should have craved/saved a lot more of Rowland’s TV Guide illustrations
than I did but alas, when you’re young and stupid you just assumed there would
always be a TV Guide and there would always be a RBW illustration in it.

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A slight break in the RBW action to give then TV Guide art director, Jerry Allen,
kudos for using the great illustration and great cartoon talent that he did.
(Applause, applause!)
Here are a few of them.

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First Charles Saxon. (After seeing this illo, you have to
wonder what a Sesame Street book would have looked like if Saxon had
illustrated it. The characters wouldn’t have been 100% on model, but that
book would have been one of the most beautiful on the bookstore shelves!)

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This is Bob Weber

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This is a Jack Davis spot.

The following are 8 of Rowland’s illustrations for the second New England Life campaign.

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This is for those of us old enough to remember -
Unfortunately with their second ad campaign New England Life switched from
selling life insurance to pushing financial planning and the gags lost a lot their edge.
Combine that with stifling “hands on” art direction they also lost a lot of Rowland’s
design sense. RBW didn’t have an easy time of it but he persevered.

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Even though Rowland did this New England Life illustration long before
he worked at Disney, I always felt it had a Disney charm about it, and
it was around this time that he was setting his sights to get a gig at
the mouse factory. It just didn’t happen right away.

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For Popular Mechanics Magazine.

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Logo design for animation studio.

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Tomorrow, a number of rough sketches for TV Guide spot illustrations.

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Many thanks to Bill Peckmann.

- Leif Peng on his site, Today’s Inspiration, has been posting art of Rowland B. Wilson all this past week. Bill Peckmann has suggested we post a complementary piece today to work with Leif’s site. Consequently, here are a number of pieces. As we go through each, I’ll give you Bill to tell you in his own words what’s coming.

I’m starting off with a CARTOONIST’S PROFILE of RBW. You’ve posted some of the art in color already, but it’s nice to see how it breaks down in B & W.
Rowland was always totally aware of how his color art would translate into the gray scale.

The cover of Cartoonist Profiles.

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The next two gags were taken from a reprint book titled “Esquire’s World of Humor”, 1964(?). Fortunately they hadn’t been reprinted in the Whites of Their Eyes, so they are somewhat “new”. Sadly, they were reprinted in B & W, the color art must have been beautiful.

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Here are examples of how Rowland figured out the shading of his full color TV GUIDE illustrations. He would take a Xeroxed line drawing and then “fool” with it with colored pencils.

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The next 3 pieces are roughs for PLAYBOY gags. Even his roughs look “finished”. Suzanne Wilson was kind enough to send me these.

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Here are some photos from June, 1973 when Rowland started working at Richard William’s studio in London. Fortunately for Rowland, that was just the time that Grim Natwick was teaching over there and as they say… that was the start of a beautiful friendship!

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One Soho Square

Rowland at his desk

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Animator, Jeff Short with Rowland.

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Rowland with Grim Natwick

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Bill Peckmann with Grim Natwick outside Dick’s studio

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Rowland with Grim

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Rowland with Suzanne

Finally, here’s a note from Suzanne Wilson about the Rowland B. Wilson book which is currently in the works:

A compendium (?) of Rowland’s personal notes, techniques, sketches, etc. is in the works. It is largely based on Rowland’s collected “how-to” pages that he developed in order to create a system that could be applied to illustration, animation, cartooning and graphic novels.

The publisher is Focal Press. I don’t expect it will come out until 2012…

They haven’t said I can’t announce the book, but the title is not finalized (plus I am having conniptions about ever completing it on time…

I happened to scroll down on Michael’s website and see Laurel and Hardy. I didn’t know if you knew Rowland painted them on the cabinet doors of a workbench he built…

The workbench

Oliver

Stan