nome alaska

30 09 2009

following are a few xeroxed storyboard drawings DAAN JIPPES did for BALTO in 1993. daan used a black prismacolor pencil and the size of each drawing is about A5. they are not in order and not complete. his boards were of such high quality, all the characters absolutely on model, that they could have been used for a comic strip.

PICT0044

PICT0046

PICT0047

PICT00415

© amblimation/universal





kingdom 1

28 09 2009

I found some xeroxes of paintings JOHN WATKISS had done in the late nineties for THE EMPEROR’S NEW GROOVE, or – KINGDOM OF THE SUN – as it was called at that time. john painted them in the same size as the TARZAN pieces, approx. 80 x 40 cm, all acrylics. different from the more action loaded TARZAN jungle scenes he played here a lot with interesting compositions and light/shadows. there must be at least 30 or 40 of these paintings, hopefully in the archives.

kingdom159

kingdom161

kingdom166

kingdom168

kingdom169

kingdom170

© disney enterprises, inc





bajaja

27 09 2009

these are the final screen captures of JIRI TRNKA’S 1950 puppet animation film PRINCE BAJAJA

bayaya001

bayaya002

trnka bayaya last web

© LUTKOVI film praha + jiri trnka





moments 7

26 09 2009

TURNER PICTURES released in 1992 a very well done documentary WHEN THE LION ROARS, the history of MGM. six hours on a three VHS tape set. the following mosaic with forgotten memories from the early days of filmmaking is my inspiration for the weekend.

forgotten mosaic 909 web

© TURNER pictures/MGM





unusual

24 09 2009

donald's crime 1

donald's crime 2

donald's crime 3

donald's crime 4

donald's crime 5

donald's crime 6

interesting backgrounds, aren’t they. would you have guessed they are part of a disney DONALD DUCK short? I recreated them from the 1945 released short DONALD’S CRIME. directed by JACK KING, layout ERNEST NORDLI and backgrounds MERLE COX. it is a nightmare sequence similar to the much later UPA masterpiece THE TELL TALE HEART and influenced by german expressionistic films, like CABINET OF DR.CALIGARI. very unusual for a disney short.
D.crime title

© disney enterprises, inc





heroic

23 09 2009

HEROIC TIMES, or the original title ‘Daliás idök’ in hungarian language, was released in 1984. the 79 min masterpiece was directed and animated by JOZSEF GEMES, produced by hungarian studio PANNONIA FILM. GEMES had help only from a few artists, among them russian animator and filmmaker ALEXANDER PETROV. the production took five years, everything was painted on glass and modified or destroyed for the next frame. some scenes were extremely complex, several layered glass-levels were used for these complicated parts. the film won numerous awards in animation festivals. like usual with good films it is not available anywhere. I have a decent quality copy from the late eighties when it was shown on german tv. following some screen captures.

heroic times7

heroic times8

heroic times9

heroic times10

© pannonia film/jozsef gemes





earring

22 09 2009

JOHANNES VERMEER, 1632 – 1675, is today considered as one of the greatest painters of the DUTCH GOLDEN AGE. that was not so during his lifetime, maybe because he only created a relatively small amount of paintings. he is best known for his masterly treatment and use of light, and for a special color, he used in most of his work – the VERMEER GREEN. DELFT in the netherlands, where vermeer lived, was at that time the center of optical experimentation and lens-making, what suggests that vermeer used a CAMERA OBSCURA in composing his pictures and handling colors and values. his portrayed figures are perfectly embedded in their environment, the atmosphere is peaceful and has a mysterious feel.

one of vermeer’s most well known paintings is THE GIRL WITH A PEARL EARRING. the film with the same title, released 2003, is one of my favorites. directed by PETER WEBBER, art direction BEN VAN OS, costume design DIEN VAN STRAALEN and – cinematography EDUARDO SERRA. eduardo serra was the cinematographer of the 1997 WINGS OF THE DOVE as well. the visuals in the vermeer film are stunning, the whole film looks like vermeer’s painting come alive.
I combined some scenes of the film with a few of vermeer’s paintings to show you, how well films can be done completely without tons of special effects.

pearl 1

pearl 2

pearl 3
pearl 4

© archer street productions





posters 1

21 09 2009

this is the start of a new series – POSTERS. I found so many posters in my drawers, especially from HEINZ EDELMANN. he did them end of the seventies/beginning of the eighties for a german broadcast station, WDR. I produced a lot of children program for them at that time and they offered me all the posters edelmann had created.

edelmann1404

edelmann1410

edelmann1411

edelmann1413

©WDR/edelmann





countryside

20 09 2009

some more recreated backgrounds and corresponding layouts from disney’s 1961 101 DALMATIANS

1 101Dal044pan

2 101 dalm.pan1

3 101 dalm.pan1mix

4 101Dal0022pan

5 101 dalm.pan2

101Dal033PAN

7 101Dal056

© disney enterprises, inc





gaston

18 09 2009

ANDRE FRANQUIN, 1924 – 1997, is for me the best comic strip artist ever! the characters he developed, especially GASTON LAGAFFE, the incredible, often very sarcastic humor he added to his drawings, the rough drawing style resulting from a mixture of thin brushwork and nibs, the way he translated the real world into a caricature, the buildings, the cars, nature – he is the absolute master!

franquin was not able to finish artschool in brussels, belgium, because of the second worldwar. after his school closed down, he joined an animation studio CBA – compagnie belge d’animation – for a short time, where he met some of his future comic strip colleagues, MAURICE DE BEVERE or MORRIS ( creator of LUCKY LUKE ), PIERRE CULLIFORD or PEYO ( creator of the SMURFS ) and EDDY PAAPE ( creator of LUC ORIENT and numerous other characters ). they all started to work from the mid-forties on for the comic strip publishing house DUPUIS.
in 1957 franquin started in SPIROU, the famous belgian comic magazine, a new series initiated by YVAN DELPORTE, spirou’s chief editor, GASTON LAGAFFE. gaston is the ‘anti-hero’, the office boy with mishaps and disastrous adventures mostly connected to a publishing house. the series became soon the biggest hit and franquin’s best known creation.

following are three pages of the GASTON series in SPIROU.

franquin33

franquin34

franquin35

© franquin/dupuis





…more historic photos

17 09 2009

a1989 derek
september 1989 in DEREK GOGOLS house for a weekend visit. the BEAUTY+BEAST london team – GLEN KEANE and his wife, TOM SITO, DEREK GOGOL, JEAN GILMORE and ANDREAS DEJA

b1989 L.A.a
L.A. 1989 – mexican dinner – me, JAMES BAXTER, DAVE and DEBBIE SPAFFORD, SIMON and WENDY WELLS, and NIK RANIERY

c ambl.luc desmarch.93
1993 london, amblimation studio. LUC DESMARCHELIER working on a ‘monster’-background

d andreas dreams 1979
burbank march 1979. ANDREAS DEJA in front of the disney studios, dreaming his disney dreams, they all came true

e dick 2'87
DICK WILLIAMS still in his soho studio in february 1987 storyboarding on WHO FRAMED ROGER RABBIT

f disney 1998
my room in the burbank disney studio, riverside drive, 1998

g elfriede 1981
ELFRIEDE FISCHINGER in L.A. 1981, showing original artwork of her late husband OSCAR FISCHINGER

h kurtz,angele,frederic87
june 1987, L.A., after the academy presentation of THE MAN WHO PLANTED TREES, with BOB KURTZ, ANGELE WILSON and FREDERIC BACK

h lee mischkin 1981
LEE MISCHKIN 1981 in his L.A. studio

i watkiss 2-97-1
TARZAN production painting of JOHN WATKISS in february 1997

j steven, simon, phil 1992
STEVEN SPIELBERG in his london AMBLIMATION studio in 1992 together with the directors SIMON WELLS and PHIL NIBBELINK

k ring,hurtz,woolery91
annecy animation festival 1991, with BORGE RING, BILL HURTZ, and ANGELE and JERRY WOOLERY





historic 80s

16 09 2009

here are some more historic pictures digitally transferred from color-slides. the RICHARD WILLIAMS ANIMATION studio was for years in LONDON, 13 soho square, until the production of WHO FRAMED ROGER RABBIT started sometime early 1987. following are some memories from the old days…

williams 86 b

williams 86c

williams 86

williams 1981a

williams86

williams 1986

during a stay in los angeles in 1981 I visited the HANNA BARBERA STUDIO at cahuenga in studio city and they showed me the whole studio. now there is a gym in that historic building

HB 1981 2

HB 1981 3

HB 1981 6

HB 1981 7

more tomorrow…





searching

13 09 2009

you noticed that I am not a fan of CG and motion capture. but that doesn’t mean that I am against using the latest technology. the problem with the results of these computer-driven movies is that they don’t look artistic at all. they try to copy reality. especially films like BEOWULF. is it really worth all the investment that you might not need expensive actors anymore? and to make it look even more realistic than reality, with 3-D projections and huge imax screens? you hear a lot of stupid talk that traditional animation is dead. sure – I heard that before, black and white film is dead, photography is dead, who needs illustration, we have tv – who needs radio. the only problem with traditional animation is, nobody is brave enough to try new artforms, new combinations of the old with the new technology. maybe soon the audience will be tired of looking at the same plastic movie over and over again. hopefully someone will be there at that moment, with the right visual solution.

for a while I am doing a lot of experimenting, combining painting with photographs, using the latest filter plug ins and other tricks. and always I try to apply a look that I like to a series of single captured frames from some of my live action videos, to see how the manipulated visuals look in movement. it’s amazing what you can do with software that is available for everybody. here are a few examples of my tests…

filter 3

filter 1

filter 4

filter 5





opening

12 09 2009

these are the beautiful sketches following the credits of disney’s WIND IN THE WILLOWS to introduce the audience to the story…

willows opening a

willows opening b

© disney enterprises, inc





more pepperland

11 09 2009

there are two reasons for this post – HEINZ EDELMANN passed away a short time ago, in july this year. only 75 years old. he became famous for his production design work on the animated feature YELLOW SUBMARINE in 1968, what is the second reason – apparently there are plans of a motion capture remake of this masterpiece from disney and zemeckis. I don’t want to comment on that.

edelmann+tv cartoon

this is about HEINZ EDELMANN, who was one of my idols for all these years and I never had a chance to meet him. he was already a well known, respected illustrator and graphic designer of posters, bookcovers and advertising art, part of the famous german magazine TWEN when he accepted the offer to design this unusual, crazy pepperland musical. it was in 1967 that heinz edelmann received a call from CHARLIE JENKINS, the director of special effects on that animated film based on the songs of THE BEATLES. it was initially planned that edelman would only work eight weeks during which he would design the look of the movie. in the end he worked an entire year on YELLOW SUMARINE, often sleeping only four hours a night to complete the project. He was in charge of over 200 artists. the film would take a toll on edelmann’s health, it took him two years to recover from working on it.

edelmann 1

the film was a box office hit, the audience loved the unusual creative psychedelic world. stylistically it changed the perception of the look of an animated film for many artists, inclusive me. heinz edelmann did not think about what he had done too much – he said once ‘You know, I never think about what I do afterwards. The moment it’s out of the studio it’s delivered and printed I forget it and I rarely look back at my work and I never sign my work either.’

edelmann 2

edelmann 5

the images here are publications I found in my archives, from the magazine TWEN in the late sixties…

© heinz edelmann
© twen
© apple corps / the beatles





train

10 09 2009

WARNER BROTHERS released on april 21, 1945, HARE TRIGGER, one of my favorite WB-shorts. directed by FRIZ FRELENG it featured BUGS BUNNY and YOSEMITE SAM. as you can see in the credits the BG’s were painted by a master – PAUL JULIAN. below is a recreated long pan from the film.

WB hare tr web

WB hare trigger pan web

© WARNER BROTHERS





090909

9 09 2009

shades of pale





music

8 09 2009

music land GGt

the disney SILLY SYMPHONY MUSIC LAND, directed by WILFRED JACKSON was released october 5, 1935 – 74 years ago. here is a recreated beautiful N/S -pan, painted in watercolor.

© disney enterprises, inc





wood 6

7 09 2009

wood test BG 2

© bilderfabrik





1962

6 09 2009

just found that very old german movie program I treasured for so many years, memories of how it all started.
101DAL0001

disney released 101 DALMATIANS feb.1961. I saw it in summer 1962 when I was 13 years old, in a very small provincial movie theatre in southern germany. in those days, in germany, there was only one book about animation available, the art of walt disney. too expensive for my parents. I went nearly every day to the bookstore where it was displayed, got it finally many years later. there was nothing on TV, except some amateurish looking german tv-animation. no video yet, you could buy some short very expensive disney clips on 8mm. what really bothered me though, no other kid in my neighborhood had that same funny interest, animation. I thought I was an outsider because I wanted to see ‘kids’ – stuff in the movies and was drawing all the time.

101 D 1038a

101 D 1037a

anyway, coming back to 101 DALMATIANS, there was a display window outside that movietheatre next to the train station where I took the train ( still steam-engines, beautiful – and stinky ) to the close city, where my school was. every day, for the time they showed the film, I was in front of that window and copied on my schoolpaper the main characters shown on these beautiful black/white publicity photographs. a camera would have been easier, unfortunately nobody ever bought me one. at home I did ‘clean-up’ drawings of those rough sketches. still have’em. horrible. but that’s how it started. when I saw that film, I knew what I wanted to do later, when I was older. I had no idea where to start. the dream was more important.

101 dal 2222

much later I learned more about this film, about the artists who worked on it. and I was lucky to even get to know some of them. here is some of their work – KEN ANDERSON’S and DON GRIFFITH’S architectural sketches and floorplans, as well as WALT PEREGOY’S amazing color keys.

101 lay 1

101 lay 2a

peregoy 101-a

© disney enterprises, inc








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