Search ResultsFor "dalmatians peet"



Daily post 24 Jun 2013 06:58 am

Old Boards at Disney’s

I’ve recently been reading John Canemaker‘s excellent book, Paper Dreams: The Art & Artists of Disney Storyboards. This book not only examines the history of the Disney storyboard but the artists who drew them, as well. We get tp examine the lives of people like Tee Hee and Ted Sears, Webb Smith and Pinto Colvig, Roy Williams, Bianca Majolie, Carl Barks, and, of course, the great Bill Peet.

Along the way we see shorts like Elmer Elephant, Playful Pluto (fly paper sequence), Brave Little Tailor, Mother Goose Goes Hollywood, The China Shop, and Donald’s Lucky Day develop. Fetures like Snow White, Fantasia, 101 Dalmatians, Pinocchio and Lady & The Tramp all took shape.

I’ve pulled some of the great art from these films for you to take a look at.

williams
Don Williams (the “old Mousketeer” self-portrait)

Snow White gags.

smDopeyWilliamsGag1 1

smDopeyWilliamsGag2 2

smDopeyWilliamsGag3 3

Elmer the Elephant

The board for this Silly Symphony is attractive.
The Western Publishing book edition is a gem, as well.
Beautiful W/C illustrations.

smElmerElephant1 4

smElmerElephant2 5

smElmerElephant3 6

smElmerElephant4 7

smElmerElephant5 8

Flowers and Trees

Done in 1932, it was the first animated short done in Technicolor.
Still, the board is a beauty.

smFlowers&Trees 9

The Old Mill

An Oscar Winner done just prior to Snow White. It acted, in a way,
as a test for ther feature and its effects. The film’s a beauty, yet
the board looks not too distant from Flowers and Trees.

swOldMill1 10

swOldMill2 11

Commentary 05 Dec 2012 07:00 am

December 5th

- Yes, today is Walt Disney‘s birthday anniversary. He would have been 111 years old. It’s also the anniversary of this Splog. It’s seven years old today; my 2,552nd post. They’ve gotten a lot longer than the initial posts. They’ve also gotten more verbal rather than visual, though my attempt is always to keep it visual. I like putting up pictures, especially if the pictures are ones you see so infrequently.

Yesterday, was a first. I had prepared a review of the new McKimson book, I Say, I Say . . . Son!; I’d spent a hell of a lot of time putting it together. And I was supposed to post it yesterday morning. But I forgot. I never put it up. It’ll be posted tomorrow, but I can’t get over the fact that I’d forgotten to send it out there. Mark Mayerson caught it. This was the first time that I did that, and he checked in to make sure I was OK. Maybe I am, maybe not. Could be Alzheimer’s, could be I just forgot it. I have had some time with that review, and a lot of stuff has gotten in the way with it. I’ll be curious to hear any of your comments on it.

Over those past seven years, there are some posts that I’ve been particularly proud of having run and others that were just filler. It’s interesting how I get pleasure from some posts that you might not expect.

I certainly like posting things that one rarely sees on the internet and enjoy putting out material that every animator should own.

For example, I like putting up storyboard images such as these from Pinocchio: this was composed of photos from animation pencil tests from Pinocchio. Bill Peckmann and John Canemaker contributed.

Some of the actual board was here. The coachman’s ride.

I also enjoyed posting the board from Mr. Toad’s Ride, excerpted from The Wind in the Willows.

Or there was Dumbo takes a bath here.

There was also all the material from The Sword in the Stone as I posted not only the board from mad Madame Mim’s section of that feature, but I included some great artwork by Bill Peet from that film.

I also liked the walk cycles from 101 Dalmatians, here.

I’ve written often enough about his work for you to know that I’m quite a fan of Yurij Norshtein.
There were the chapters from that wonderful little book about Yurij Norshtein:

Norshtein Comics – 1
Norshtein Comics – 2
Norshtein Comics – 3
Norshtein Comics – 4
Norshtein Comics – 5
Norshtein Comics – 6

As a matter of fact, there were a whole string of posts I did about Norshtein when I was reading Claire Kitson‘s brilliant book Yurij Norstein and Tale of Tales: An Animator’s Journey.
for example there was this post on Norshtein’s Battle of Kerzhenets.

Or there was this post about a breakfast I had arranged in my studio for Norshtein and Feodor Khitruk. It was a wonderful morning for me, and I enjoyed sharing it on my blog. (It was sad to note that Feodor Khitruk died this week, December 3rd. I’ll try to put together a proper post to note his life’s work.)

I have been enormously influenced by Norshein, the Hubleys and other animators, such as Tissa David or Jiri Trnka or Bill Tytla. It gives me pleasure to talk about such influences. You can just go to the blue names to the right of the blog to click on those names that are well represented.

Some of these stories really stand out for me. For example, there was this story about Finian’s Rainbow, a Print Magazine article by John Canemaker. I can’t tell you haw many times I’ve gone back there, myself, to look at the material again.

I also enjoy continuing a dialogue I see on the internet. If it gives me a chance to expound on animation, film or acting it often brings me pleasure. There was this post and others about it, thanks to a series by Mark Mayerson, that gave me time to think aloud on this blog.

I have a strong love of design in animation, and I can’t help but call attention to it. George Cannata is a brilliant artist and deserves all the attention he can get. See here and here.

Or John McGrew here and here.

Or T. Hee was brilliant. See here or here.

I also have a wealth of artwork and plenty of information on Rowland B. Wilson. Start here or here or here.

__________________________

You know, there’s just a lot of material here.

I haven’t even gotten into the wealth of material on loan from Bill Peckmann with his stunning collection of illustration and comic art. It’s just magnificent, and I am so proud to be able to post whatever he sends me whether it’s Rowland Wilson or Harvey Kurtzman, Gahan WIlson or Dick Moores. There’s just a bounty of artwork, and it all demands viewing. What a treasure is there. What a pleasure to post it.

All I can say is that I intend to keep it up. There’s so much more to post, so much more to enjoy,

Animation &Animation Artifacts &Disney 08 Feb 2012 07:24 am

Roger – Scene 45 – part 3

- Here is the final part of Scene 45 from 101 Dalmatians as animated by Milt Kahl. When this scene was loaned to me, it took less than a mezzo second for me to recognize it. I love it and have studied it frame-by-frame off the video (first a VHS then the DVD) many times. It’s a seminal scene for me. Just gorgeous.

I’ve always loved the first fifteen to twenty minutes of Disney features (at least up
through Sword in the Stone.) Their intelligent introductions of principal characters usually comes in those first few minutes, and it’s always done with class. I think of Pinocchio, Gepetto, and Jiminy Cricket or Dumbo’s birth or Lady as a puppy or Bambi’s birth and discovering the world of the forest or Peter and Tink meeting the Darling children and “Off to Neverland.” These moments are thrilling to me, and usually the rest of the film doesn’t hold up to this.
101 Dalmatians doesn’t fail to deliver in this respect. Exposition and introduction are done so beautifully.

The animation is, for the most part, on twos. There are a couple of ones at the very end ot the scene as Roger shakes his wrist. If you want to visit the first two parts go here for Part 1 or here for Part 2.

We start today with the last drawing from the second post.


187

201

211

213H
The legs move to their own level at this point.

221

231

241

251


A drawing is skipped here (to be inbetweened.)

263

273


A drawing is skipped, needs inbetweening.

283

______________________

The following QT includes the entire sequence
which includes all drawings posted.

The registration is a bit loose. Sorry but, these are copies of
copies and there’s plenty of shrinkage.


If you click on the right side of the lower bar
you can watch it one frame at a time.

.
For more on 101 Dalmatians check out the animator drafts on Hans Perk‘s great and resourceful site, A Film LA. Hans has also posted Bill Peet‘s story treatment for the film several years ago. See it here.
For a look at the art direction of the film including some beautiful reconstructions of the BGs as well as some of the BG layouts go to Hans Bacher‘s great site One1More2Time3.
Andreas Deja has one of the more extraordinary blogs to visit. He just posted some beautiful drawings by some of the key animators on 101 Dalmatians as they set about to find the characters. See them here as well as a comparison of Milt Kahl‘s characters against Bill Peet‘s version. here

For those who own Fraser MacLean‘s excellent book, Setting the Scene, you’ll know that on pages 182-188 there’s an extensive discussion of this opening sequence from the film with plenty of beautiful images of the set.

Animation &Animation Artifacts &Disney &Layout & Design 01 Feb 2012 07:47 am

Roger – Scene 45 -part 2

- Here is the second part of this scene from 101 Dalmatians. Roger is at the piano; Pongo has moved the mantle clock ahead by a ½ hour. Roger turns, yawns and checks his watch against the clock.

Milt Kahl animated Roger. Bill Peet did the storyboard drawing to the right. (In fact, he did the entire storyboard by himself.) This is the first of four scenes, I’ll post here – Sequence 1 Scene 45. The animation is, for the most part, on twos. There are a couple of ones at the very end ot the scene as Roger shakes his wrist. (Much of the rest of that will come with the conclusion, next week.

We start today with the last drawing from the first post.

95

101

111

121

131

141

151

161

171

175
An inbetween is missing from this part.

181

186
The goes on ones for a few frames as Roger shakes his wrist.

187

______________________

The following QT incorporates all the drawings from
this post and those in Part 1 as well.
All posts will be combined in the final piece.

All drawings were exposed on twos unless indicated otherwise.

The registration is a bit loose. Sorry but, these are copies of
copies and there’s plenty of shrinkage.


Completion of the scene will come next week.

.
For more on 101 Dalmatians check out the animator drafts on Hans Perk‘s great and resourceful site, A Film LA. Hans has also posted Bill Peet‘s story treatment for the film several years ago. See it here.
For a look at the art direction of the film including some beautiful reconstructions of the BGs as well as some of the BG layouts go to Hans Bacher‘s great site One1More2Time3.
Andreas Deja has one of the more extraordinary blogs to visit. He just posted some beautiful drawings by some of the key animators on 101 Dalmatians as they set about to find the characters. See them here as well as a comparison of Milt Kahl‘s characters against Bill Peet‘s version. here

For those who own Fraser MacLean‘s excellent book, Setting the Scene, you’ll know that on pages 182-188 there’s an extensive discussion of this opening sequence from the film with plenty of beautiful images of the set.


Ken Anderson’s sketch of the room.

Animation &Animation Artifacts &Disney 25 Jan 2012 07:42 am

Roger Sc 45 – part 1

- Did I ever tell you that I love 101 Dalmatians? This film hit me hard at just the right time in my life; I was susceptible. Here was a new way of animating humans, almost a caricature but not quite. Those opening scenes of Roger playing the piano and Pongo looking out the window in search of two mates (one for him; one for Roger) are just first rate.

Milt Kahl did Roger, the human, and I have four scenes all used within the first fifteen minutes. They’re good. This is the first of them, Sequence 1 Scene 45. He’s turned to look at the clock, yawns and checks his watch. We’ll take it up to the yawn today. The animation is all on twos. The assistants were told to leave the line a bit rough, so some of Milt’s scratches were left to be xeroxed onto the cels.

1

5

9

11

15

19

21

25

29

31

35

35H
The chair pops to its own level behind Roger.

39

41

45

49

51

55

59

61

65

69

71

75

79

81

85

89

93

95

______________________

The following QT incorporates all the drawings from this post
All posts will be combined in the final piece.

All drawings were exposed on twos as indicated by the numbers.

The registration is a bit loose. Sorry but, these are
copies of copies and there’s some shrinkage.


More of the scene will come next week.

.
For more on 101 Dalmatians check out the animator drafts on Hans Perk‘s great and resourceful site, A Film LA. Hans also noted, in the comments section below, that he had posted Bill Peet’s story treatment for the film several years ago. See it here.
For a look at the art direction of the film including some beautiful reconstructions of the BGs as well as some of the BG layouts go to Hans Bacher‘s great site One1More2Time3.
Andreas Deja has one of the more extraordinary blogs to visit. He just posted some beautiful drawings by some of the key animators on 101 Dalmatians as they set about to find the characters. See them here.

Animation Artifacts &Books &Disney &Illustration 12 Apr 2011 06:56 am

Goliath II

- I feel very fortunate. Jason Hand, following my posts on Bill Peet’s great book illustrations, has sent me the illustrations to the book, Goliath II. This book grew out of the Disney featurette. Peet, in his autobiography, says he pulled the story from one he had written to be made into a book. When he was in the doghouse at Disney, sentenced to working on commercials for the likes of Peter Pan Peanut Butter, he stopped Walt in the hallway and showed him the story outline. Disney put it into production immediately.

It was an important film in that it was the first to use Xerography to copy the animators’ lines onto the cels. This was an extremely important step before they moved onto 101 Dalmatians.

I thought this was a great invitation for me to add some frame grabs from the film which match the illustrations of the book, to see how closely the two matched. After looking at the book, one can see that the film is very two dimensional. Every action happens east – west. None of the action moves in perspective (toward or away from you). This, of course, is a product of the limited budget. The film is also all closeups. Little of the action takes place in Long Shot (the better to keep the budget down.) The film, naturally, is a disappointment when compared to Peet’s illustrations.

Here are the illustrations followed by the correlative frame grabs:

1
A delicate drawing of something that doesn’t appear in the film.

1
The closest thing to floating dandelions is Goliath watching
a couple of fireflies toward the last half of the film.

2

2

3

3
This scene isn’t played well in the film.
It’s perfectly clear in the book.

4

4a
They couldn’t handle this scene in a single shot.
They broke it into two closeups. TV direction.

4b
Shades of Dumbo.

5

5
This is about as close as I can come to a match.
Peet’s drawing is so full of life.

6

6

7

7
This scene actually comes later in the film.
There was no bathing scene early on.

8
No relation to this scene is in the film.

9

9
There’s no real correlative to this illustration in the film.
The closest appears toward the beginning.

10

10
More John Lounsbery than Bill Peet.

11

11
Mama throws the tiger.

12

12
A very different approach in the film.

13

13

14

14a
The elephant pile up illustrated by Bill Peet has to be broken
into a number of short scenes cutting back past the elephants.

14b
This makes animation easier to do and, consequently, fewer drawings.

14c

15

15a
The elephants end up in water, but they jump in
one at a time. Better for the reuse of animation.

15b

16

16
The mouse enters the story.

17

17a
The mouse throws Goliath in a very different way.

17b
Unfortunately they’ve plotted the entire move
with an overlay that cuts up part of the action.

18

18

19

19

20

20

Books &Commentary 24 Mar 2011 07:15 am

Disney books

- Lately, Disney’s book divisions have done some wonderful work. The Archive series: Animation, Story, Design and soon to come Layout & Bg are all stunningly attractive books. These are top of the line items from Disney Editions. John Canemaker‘s Two Guys Named Joe also comes from the same division, and it’s a beautifully designed and attractively produced book.

But what about the lower end of the Disney Publishing empire? In the bygone days the animated features would be made into Little Golden Books utilizing artists from the studio. Mary Blair, Al Dempster, Bill Peet, and Eyvind Earle all contributed to books for the Western Publishing offshoot. Today there are still some Little Golden Books being made from Disney material. The Pixar product, such as Toy Story and Wall-E, as well the Disney Princesses and The Princess and the Frog all have editions.

However, I came upon something even lower down the pipeline. Here are three books that were produced for Walgreen’s pharmacy megastores. Heidi bought them 3 for $3.98. None of the books gives a hint of illustrator or writer. The illustrations, on a very cursory glance, look as though they might have been frame grabs pulled from the movies.

Bambi


Bambi’s cover. It’s a nice watercolor evocative of the film. Though one
wonders why they played with the logo’s type. The “m” now has a
little swoosh on its lower right. Not part of any other version of this title.


Our first interior illustration looks like it might
have been a frame grab from the film, itself.


This tries hard to look like it might have come from the film.
But all the characters are moved around differently.


They do a nice job of layout using this iconic image against the type.
Looking at this book, I’m amazed how many well-know still images there
are in the original feature. Those old guys knew what they were doing.


Here are a couple of double page spreads. I like the way they
handle them in these books. You can see that there is a plan.


By now, the illustrations look more like Bambi 2 than the original.


The characters were obviously done on separate levels. Notice the
mother’s leg doesn’t match the background. She’s out of place.
Something you might have seen back in the days with the use of cels.


Two pages covers the climax of the film, Faline’s encounter
with the dogs and the fire rates one illustration.


The final illustration takes us into “Bambi’s Children” and
has nothing to do with the original film, anymore.

Peter Pan


Peter Pan gets off to a bad start with a RED cover
and an action illustration. Not quite the film.


Get to the title page, and Peter is WAY off model.
Oh well.


When I think of that beautiful opening shot in the film, it isn’t
quite this. I’m afraid, the Bambi book will be the best of the lot.


The double-page spreads do still play a bit with the form.


Not much magic left in this Neverland.


Some nice action.


Most of the book is done in Long Shots. I’d say that’s
not the best choice for smallish illustrations. And the
airbrushed white is too opaque to work as a border; it
gets to look like a virus in the air.


The book is too much on the red side. Everything here is
violet and yellow. Not quite the colors invoked by the
orinal designers.

101 Dalmatians


Uh oh, we’re in trouble.


The title page makes for a good composition with bad colors.
The technique, using gouache starts to peek through.


They’ve captured the pose and lost the film.
Where’s that beautiful cut-glass rose in the door?


Too bad they’ve ignored the wonderful background styling
of Ken Anderson and the painting of Walt Peregoy.


A lot of action. Not a bad image though Cruella’s been simplified.


We’ve ignored the great design of the film and have gone to “storybook 2009″.
(The books were done in 2009.)


The two page spread makes use of its format, I have to say that.


Gone the xerographic look, this is how they end this book.

All in all, I’d have to say it’s probably not a bad deal for parents looking for cheap books to entertain their children. The Bambi book holds up nicely. Peter Pan wastes a great story and 101 Dalmatians works hard to reduce their story into a small book you’d buy in a drug store.

The art and delicacy of the Little Golden Books is gone. Take a look at this, or this, or this. They all varied wildly from the film, but with a sense of originality and design. These three Walgreen books all try doggedly to resemble the film while losing the artistry in the book.

Animation Artifacts &Disney &Illustration &Story & Storyboards 10 Mar 2011 07:57 am

recap – Peet’s Wizard’s Duel

Now that I’m posting some of the illustrations from Bill Peet’s book, Capyboppy, I thought it might be a good time to recap his storyboard for the wizard’s duel in Sword and the Stone. It’s not bad to compare his storyboard drawings with his children’s book illustrations.

– Here is a preliminary storyboard done by Bill Peet of the Wizard’s Duel from Disney’s Sword In The Stone. It’s another gem on loan from John Canemaker, and is a companion to the piece I posted last Friday by Peet. The oddity of this board is that it’s dated April 1949. (The numbers at the bottom of the board clearly read “449.”) I didn’t have any clue that this film was in development that early. The book was published in 1938, so it’s quite feasible.

If that date is accurate, it’s amazing how close the characters stay to their final models. This could easily be explained with the heightened use of xerography in animation after 1958. Post 101 Dalmatians, this loose style was easy to translate into animation, and Ken Andersen was easily able to adapt to this style by Bill Peet that all of the animators in the studio loved.

A
Click on any image to enlarge

B
Note in row 2 how the spider turns into the tiger’s face; it’s a graphic turn. This never would have made it to the final in a Disney film, and it didn’t.

CD
I love how extra drawings which have been pulled make it to the bottom of the second board.

_____________________

- I always thought Disney’s The Sword In The Stone a somewhat underrated film. The background art is sensational, and several sequences are brilliantly animated.

Bill Peet‘s adaptation from TH White‘s book, The Once and Future King, loses some of its poetry in the adaptation, but the book’s storyline features a lot of rambling making it hard to construct a screen story. I’ve watched this film quite a few times over the years, and somehow it always gives me a bit of a charge that comes with many of the older classics.

The extras on the dvd seems to consist predominantly of storyboard drawings by Bill Peet. So why not show them off? There’s no continuity to attend to, hence the images are gathered in small clusters. The sequence everyone jumps to analyze and discuss is the Wizard Duel between Merlin and Madame Mim (animated by Milt Kahl.) Consequently, a lot of the drawings on the dvd come from this sequence. I, personally, would have loved seeing some of the squirrel section. I found it quite moving and full of real character stuff. It would be nice to see how Peet developed this.

There’s no hint of a continuity on the dvd, but I’ve heard that the storyboard drawings in the vault are just placed in manilla envelopes with no suggestion of an order. It would make sense that they’ve just plopped these images on the dvd as they have with no order, details or related information.


_______Here’s a creature that never made it to the battle of the wizards.

_
_________________________(Click any image to enlarge.)

_


___________Another fantastic creature that didn’t make it into the film.


I’m not sure if this drawing is also from the duel. Or was it another sequence where Wart becomes an animal – cut out of the film?


This looks like it may have been planned as a home for Madame Mim. Did it inspire anything for The Rescuers?

_
___________It’s magic !

_____

Here are a couple of models Peet obviously did –
_______________________probably more for himself than anything.

__+___

__+___

_______

___________

______

_____________________

______

Animation Artifacts &Disney &Models &Peet &Story & Storyboards 06 Jun 2008 08:25 am

Recap Friday – Wizard’s Duel Storyboard

– Here is a preliminary storyboard done by Bill Peet of the Wizard’s Duel from Disney’s Sword In The Stone. It’s another gem on loan from John Canemaker, and is a companion to the piece I posted last Friday by Peet. The oddity of this board is that it’s dated April 1949. (The numbers at the bottom of the board clearly read “449.”) I didn’t have any clue that this film was in development that early. The book was published in 1938, so it’s quite feasible.

If that date is accurate, it’s amazing how close the characters stay to their final models. This could easily be explained with the heightened us of xerography in animation after 1958. Post 101 Dalmatians, this loose style was easy to translate into animation, and Ken Andersen was easily able to adapt to this style by Bill Peet that all of the animators in the studio loved.

A
Click on any image to enlarge

B
Note in row 2 how the spider turns into the tiger’s face; it’s a graphic turn. This never would have made it to the final in a Disney film, and it didn’t.

CD
I love how extra drawings which have been pulled make it to the bottom of the second board.

_____________________

- I always thought Disney’s The Sword In The Stone a somewhat underrated film. The background art is sensational, and several sequences are brilliantly animated.

Bill Peet‘s adaptation from TH White‘s book, The Once and Future King, loses some of its poetry in the adaptation, but the book’s storyline features a lot of rambling making it hard to construct a screen story. I’ve watched this film quite a few times over the years, and somehow it always gives me a bit of a charge that comes with many of the older classics.

The extras on the dvd seems to consist predominantly of storyboard drawings by Bill Peet. So why not show them off? There’s no continuity to attend to, hence the images are gathered in small clusters. The sequence everyone jumps to analyze and discuss is the Wizard Duel between Merlin and Madame Mim (animated by Milt Kahl.) Consequently, a lot of the drawings on the dvd come from this sequence. I, personally, would have loved seeing some of the squirrel section. I found it quite moving and full of real character stuff. It would be nice to see how Peet developed this.

There’s no hint of a continuity on the dvd, but I’ve heard that the storyboard drawings in the vault are just placed in manilla envelopes with no suggestion of an order. It would make sense that they’ve just plopped these images on the dvd as they have with no order, details or related information.


_______Here’s a creature that never made it to the battle of the wizards.

_
_________________________(Click any image to enlarge.)

_


___________Another fantastic creature that didn’t make it into the film.


I’m not sure if this drawing is also from the duel. Or was it another sequence where Wart becomes an animal – cut out of the film?


This looks like it may have been planned as a home for Merlin. Did it inspire anything for The Rescuers?

_
___________It’s magic !

_____

Here are a couple of models Peet obviously did –
_______________________probably more for himself than anything.

__+___

__+___

_______

___________

______

_____________________

______

Daily post 08 May 2008 08:17 am

Out There

- Hans Perk has been the source for much of the animation history we’ve been sharing on these blogs. His posting the drafts to Pinocchio and numerous Silly Symphonies led Mark Mayerson to prepare “Mosaics” which visualized these drafts and gave Mark an excuse for some detailed comments on that film. At the same time, I was able to post some of the storyboards from John Canemaker‘s collection which joined well with the two.

Recently, the same has been true of material for 101 Dalmatians. For this film, Hans not only posted the drafts but the legendary script by Bill Peet, as well. Mark is currently posting his Mosaics.

Now, I’d like to call attention to what I consider an enormously valuable post by Hans. He calls it Synchronizing Mickey and its follow up, More on Synchronizing Mickey. There you’ll find some historic patent documents which help to describe the Disney studio’s development of synchronized sound. Hans writes in clear detail how the few at the studio were able to go from silent film to Steamboat Willie at the Colony Theater in 1928.

It’s an informative and instructive piece well worth your look.

_____________________

- Harvey Deneroff offers an extended and informative piece on the Independent animator, Joanna Priestly. It’s an older article but worth the read. Harvey’s site is unlike most others and should be explored if you haven’t already, and it’s nice to see Joanna’s work given a nice appreciation.

_____________________

- In the past couple of weeks I’ve posted some images sent to me by Robert Cowan from his collection of cels, artwork and memorabilia. They’re all astounding pieces. I’m pleased to say that he’s created a new website around this collection, and I encourage you to visit if you want to look at some beautiful animation art.

_____________________

- There’s another excellent animated piece by Jeff Scher on the NYTimes website. This month’s edition is certainly one of the better films in the series. These are not Flash films that are knocked out in an afternoon; they’re obviously the product of good hard work, and Jeff is providing some real creativity to the Times’ OP ED page. To quote Jeff from the post:
___“All the Wrong Reasons” is an experiment in making a film
___that feels as if it has percolated up from the subconscious;
___a dream you can watch with your eyes open. It’s one of
___those big cathartic dreams, a labyrinth of fleeting moments
___full of metaphor and mischief. I wanted it to feel like a bumpy roller coaster ride in
___and out of the dark side of the brain where all the wrong reasons reside. And, as with all
___dreams, the meaning and significance are open to interpretation.

___There are almost 3,000 paintings and collages in this film. I used rapidly changing color
___to give a shimmer to the animation and lots of collage to create a visually percussive
___texture.

The score by Shay Lynch perfectly captures the mood of the piece. They’re so in synch that I wondered which came first the score or the animation. Take a look and a listen.

Next Page »

eXTReMe Tracker
click for free hit counter

hit counter