quinta-feira, 14 de abril de 2011

Behind the Scenes with Disney Hollywood Studios Ink & Paint Team

posted at the Disney Parks blog on August 31st, 2010 by Dara Trujillo, Manager, Merchandise Synergy, Events, and Communication

The Walt Disney Company is rich with so many wonderful traditions, one of my favorites being hand-drawn animation. While there have been many changes and advancements in technology that have changed the way we create our animated classics, the beautiful tradition of hand-inked and hand-painted cels is still very much alive at Walt Disney World. In 1997, the Animation Gallery at Disney’s Hollywood Studios began creating the beloved Ink & Paint collection, which is available exclusively at the Animation Gallery. Each cel in the collection is inked and painted by hand, by our talented design team whose passion for the craft helps to keep one of our most treasured Disney traditions alive.

Just last week, I had a the fortunate opportunity to sit down with Ink & Paint Artist, Sharon Vincent, who has been with the Ink & Paint team at Disney’s Hollywood Studios since the beginning. Sharon gave me a whole new look into the delicate world of hand drawn art, which I am so excited to share with you today.

Dara: I’ve heard that you’re an expert when it comes to Ink & Paint Animation cels. How long have you been Inking & Painting? How did you get involved with such a delicate and intricate craft?

Sharon: My father was a very talented artist, and began teaching me when I was about 5 years old. He loved many different forms of art, and encouraged me to be versatile, and to always try and “learn something new.” In 1985, while reading the newspaper, my Dad spotted an article about a new art studio that would be relocating to Central Florida. He said, “Hey, this is right up your alley.” So, as soon as this company arrived, I went and applied for a job, which was at the independent Ink & Paint Studio. I was very excited and honored when in 1989, I was invited to join the Walt Disney Feature Animation opening crew, here at the Florida Studios. 

Ink & Paint

Dara: A lot of people don’t know what it takes to create a Hand-inked and Hand-painted Animation cel. Can you walk us through the delicate process of creating an Ink & Paint cel?

Sharon: The term cel is short for Celluloid Acetate, a transparent material which is used for hand-painted animation frames. Here’s a quick synopsis of what it takes to create a Hand-inked and painted cel. Once we finalize the rough concept art it is sent through a final clean-up stage. During this process the line work for the characters is refined, insuring that each individual line is fluid and tapered allowing us to breathe life into the characters. The character’s line work is typically applied by traditional hand-inking (using an old fashioned quill pen nib), or by a silk screening process on the topside of the cel. Once the line’s are complete, the cel is flipped over, and the paint is applied by hand on the reverse side, allowing us to achieve clean lines when flipped back over and viewed from the front.

The most common technique used for animation painting is known as “floating”. This is where paint brushes are in contact with the paint only, never touching the surface of the cel. Our last step is to ensure that each cel is complete, has been beautifully painted and has dried thoroughly, so it’s ready to hang in your home.

'Dreams Come True'

Dara: The new “Dreams Come True” cel is particularly special. It’s the first time that we see
Walt Disney in a cel, from the Studios’ Ink & Paint Collection. What can you tell me about the creative process you and the team went through, to dream up the cel? Is there anything about the new cel that you want share with our Disney Parks Blog fans?

Sharon: We start with a brainstorming session and then build a story around it, add a little character and viola! We all felt it was time to create another vintage cel, highlighting everyone’s favorite, Mickey Mouse, but this time taking it all the way back to 1928, as my teammate Jim Bonserio, suggested. This particular cel tells a heartwarming story, of how “Dreams Come True” and recounts the legend of when Walt dreamt up the idea of Mickey, on his train ride from New York City to Los Angeles.

Do you have your own questions for Sharon and the rest of the talented Ink & Paint Team? Or would you like to look at the hand painted cel collection in person? Then be our Guest at the Animation Galley at Disney’s Hollywood Studios on Saturday, September 11 from 10:00am – 1:00pm & 2:00pm – 5:00pm to meet the artists and to join the premiere celebration of the newest cel, “Dreams Come True!”

Can’t make it to the Studios but would love to add the “Dreams Come True” Cel to your collection? Call Walt Disney Event Services at 407.827.7600 to order your cel, or visit ArtofDisneyParks.com for more information.

segunda-feira, 11 de abril de 2011

The 101 Dalmatians - Color Keys

Below is a collection of Walt Peregoy's art for the 101 Dalmatians film.

He was the color stylist and you can see his work discussed in greater depth in the Cartoon Modern book.

"To this day, Walt Peregoy's color styling on 101 Dalmatians (1961) remains a fine example of how color can be used creatively in animation while serving more than a merely decorative function
- Amid Amidi (Modern Animation Authority)



He was the painter on Sleeping Beauty (1959) and worked at The Sword in the Stone (1963), Mary Poppins (1964) and finally The Jungle Book (1967).

After several years working at Hanna-Barbera, he returned to WED Enterprises (1977 - 1983) being responsible for the architectural facades, sculptures, fountains, show rides and murals for The Land and Journey Into Imagination pavilions durginf the design of Epcot Center.

Do you recognize this one? It's up there in the title of our blog! 



You can see him (along with Marc Davis, who worked at 101 Dalmatians too) as 1 of the 4 featured artists in Disney's Four Artists Paint One Tree documentary*.




* "Four Artists Paint One Tree" (16:08) is a Sleeping Beauty Extra on SD-DVD Disc 2. It's a 1958 featurette that has four Disney artists (Marc Davis, Eyvind Earle, Joshua Meador, and Walt Peregoy) painting the same tree, each showing their own personal style. Walt Disney himself encourages each to "be themselves." 






terça-feira, 5 de abril de 2011

The 101 Dalmatians Storyboard

Click to enlarge the strips below
Click Here to read: New Xerographic Animation Presented In Walt Disney's "Dalmatians" Feature

Click Here to read: Painting of Spots Huge Job in Producing Disney's "Dalmatians"






























Click Here to read the original post at Michael Sporn Animation inc.

quinta-feira, 31 de março de 2011

New Xerographic Animation Presented In Walt Disney's "Dalmatians" Feature

 Click Here to read the previous post about the 101 Dalmatians: Painting of Spots Huge Job in Producing Disney's "Dalmatians"

03.31.11 - Xerography, a new word in animation and motion pictures, snaps up the action and personalities of the dogs and humans in Walt Disney's brilliantly conceived $4,000,000 cartoon comedy, "One Hundred and One Dalmatians."

Xerox, as the new process is called, has the effect of transferring every artistic touch laid down by the artists' pencils directly to the screen and thus enormously improving the entertainment values of the animation.

Previously the transfer from talented pencils to film — color by Technicolor, in this case — had been done by girls with pen and ink in hand. Although the girls were artists in their own right, the copying had a tendency to lose a little of the feeling originally imparted by the creators.

Now the ink and paint girls are on the crews of the Xerox cameras.

The Haloid Company of Rochester, New York, inventors of the process, describe it as "a clean, fast, dry direct positive, electrostatic copying process" which eliminates the need, as well, for a darkroom or an intermediate film negative.

For his Dalmatians feature, Disney has expanded the system and adapted it to his own artistry. Recently Ub Iwerks, the studio's director of technical research, received the Herbert T. Kalmus Gold Medal Award for achievements which included his further development of the Xerography process.
From the 101 Dalmatians original press materials
Click Here to read the previous post about the 101 Dalmatians: Painting of Spots Huge Job in Producing Disney's "Dalmatians" 

sábado, 12 de março de 2011

Paper Animation for "World of Color" Water Show at Disneyland Resort




Paper and water don’t seem like an ideal match, but throw in animation and it works in a very cool way. One type of art form being considered for “World of Color” is paper animation.

Local Glendale, California artist Megan Brain has created 3-dimentional paper sculptures of Disney characters that are turned into models or puppets with computer animation.

The result is very fun and very unique when it is projected onto a giant water screen. Heather Hust Rivera will give a more in depth update on “World of Color” next week, but in the mean time, take a look at this video and see for yourself.

quinta-feira, 17 de fevereiro de 2011

Painting of Spots Huge Job in Producing Disney's "Dalmatians"


The painting of spots was one of the biggest creative factors facing some 150 artists during three years of working on Walt Disney's cartoon-feature comedy-romance, 101 Dalmatians.

In all, there are exactly 6,469,952 spots on the back of 101 heart-warming dogs and puppies as they appear in 113,760 frames of brilliant color by Technicolor.


Pongo, the cartoon canine lead, wears 72 spots while his love, Perdita, has 68 on her coat. The spots and all other color effects required 800 gallons of very special paint weighing nearly five tons, enough to dress the exteriors of 135 average homes.


Using a secret process, the studio has always mixed its own color in its own laboratories for all Disney cartoons. For 101 Dalmatians, 1,000 different shades were produced, 100 of them especially for that picture to achieve the subtlety and variety needed to handle the dogs and humans as they move through interiors and exteriors in summer and winter.

Producing the "white" for the dogs alone— Dalmatians are white under the spots— required enough very light gray paint to make this category the predominant one in the picture's broad spectrum. Pure white, of course, would have been too garish, too difficult to define, especially against snow.


From the 101 Dalmatians 1979 re-release press materials.

sábado, 5 de fevereiro de 2011

Treasures from ’20,000 Leagues Under the Sea’: never-before-seen Disney artwork

THE DISNEY ARCHIVES

I recently got a rare tour of the Disney archives (you’ll be reading a lot more about that visit very soon), and I can’t tell you how fascinating it was to see such a vast collection of artifacts and “lost” art. These costumes, props, animation cels, posters, documents, paintings, models, etc. are more than the ultimate cache of pop-culture collectibles — they chart the history of America’s most amazing entertainment success story.

We’re going to be digging a bit into that archive over the months to come to bring you glimpses into these treasures, and we start off with some compelling images that date back to “20,000 Leagues Under the Sea,” Disney’s landmark 1954 live-action film.

These are preproduction drawings from 1953 that show early visions of the famous battle against a giant squid that plays out atop Capt. Nemo’s Nautilus. These drawings have been meticulously preserved by the archive staff but never published in any form, anywhere, before now. 

20000 leagues art 3

These show the squid attack taking place against a dramatic sunset and indeed that’s how it was filmed — but Walt Disney watched the footage and felt it could be better. The entire sequence was refilmed, this time during a vicious rainstorm, a more frenetic setting. That’s the version that moviegoers saw when the film reached theaters in December 1954. 

20000 leagues art 1

“20,000 Leagues under the Sea” was just fifth live-action feature film from Disney (that’s not counting the nature films) and it tied with “White Christmas” as the top box-office draw of the year.

20000 leagues art 2

This final image below is a painting that is just amazing to see in person. It’s the original artwork for the cover of a record album that tied in to the “20,000 Leagues” re-release in 1963. The artist isn’t credited, unfortunately, and the archivists at Disney say if anyone has some insight into who did this great piece, he or she should leave it here in the comments section so the archivists can follow up and make their own records more complete.
 
20000 leagues

As I said before, there’s a lot more to come from the Disney archives, and if there are specific things you readers would like to see, let me know. Also, for you hard-core Disney fans, the archives are typically closed to the public but they are scheduled to be opened several times a year to members of D23, the official Disney fan club.

– Geoff Boucher