wilhelm m.busch 13

28 08 2010



in 1948 WILHELM M.BUSCH illustrated this collection of fairy tales about a ghost from the mountain region in eastern germany.

© wilhelm m.busch / ensslin verlag reutlingen





comparison 6

26 08 2010

whenever I look at the layouts and backgrounds from disney’s BAMBI I am not sure what I admire more – the graphite ‘painted’ black/white layouts on vellum paper or the final oil-painted BG’s on glass or cardboard.


LISA KEENE, who is a BG-artist and art director in the DISNEY-feature animation studio in burbank, send me a very interesting note about the BAMBI BG-painting technique, and I want to share it with everybody. she writes -

I just thought I would tell you what I know about these BAMBI BG’s, I thought you may be interested. the first time I saw the glass plates, I think it was around 1983 and they were housed in a corrugated steal building where the ABC-building is now in the far west corner where the grass is. a dark drafty building where the low level light showed the dust partials in the air. it really left an impression on me because BAMBI is my all time favorite Disney film and I was shocked that they were treated so casually. I was surprised they weren’t all broken. I can’t remember what else was in the building but there was lots of other stuff.
many of the BGs that were not multiplanes were of varying mediums. of course the paint on the glass was oil but many were painted with watercolor or thinly with oil. it seemed that what ever the artist was more comfortable using it was just fine. we had to use these BG’s to copy from and learn the technique so I was surprised that they weren’t all the same.
I suspect that often the glass plates were covered with a neutral color, grey, so that when the glass moved over another plate nothing showed through a thinly painted level. we still did that when we painted on cel and oddly enough still do when we are on the computer. also if the paint is thin on the sides of an area whenever that overlay level passed over the one below and the below level was dark the edges on the one above would appear to ghost when the camera lights would hit it, so it needed to be backed carefully. you see some of that especially in the opening shot.
transferring the layout with a metal stylus was used with graphite paper turned downward and the layout used on top using the stylus so not to ruin the layout. If no graphite paper could be had we often made our own.
Anyway I’m sure you know all of this but I though if you hadn’t seen the old building where the glass plates were you might enjoy the story.

thank you so much for that insight, LISA.

© disney enterprises, inc





nr. 555

23 08 2010

this is post nr.555 and I want to go back a few years. the photographs were taken during the seventies and show my main teachers and good friends who I owe a lot to. now I am teaching myself and can imagine the hard time they had with me as a student. from the same period are the two academic studies I did during the first two years in artschool with their guidance, and some sketches about thirty years later just for fun.











wolf erlbruch 3

21 08 2010














all book-illustrations and calendar sheets were created by WOLF ERLBRUCH and published by PETER HAMMER VERLAG, wuppertal, germany

© wolf erlbruch / peter hammer verlag





moments 14

19 08 2010

…compiled from commercials and music-clips from the eighties and nineties





severino baraldi 2

17 08 2010

some more children book illustrations from the seventies created by italian illustrator SEVERINO BARALDI. in all his work I admire the most his knowledge of costumes throughout the different styles of the past centuries. and he always adds some phantasy elements that make the characters look like the actors on an opera stage. his technique is very interesting as well, the use of all his textures was in those pre-photoshop times a bit more complicated. it looks like he worked a lot with a sponge technique, as well as added color pencil on a rough cardboard surface.









© severino baraldi





comparison 5

14 08 2010

some more layouts and the recreated corresponding backgrounds from disney’s BAMBI and 101 DALMATIANS.







© disney enterprises, inc





wilhelm m.busch 12

12 08 2010



these illustrations created by WILHELM M.BUSCH are from the book RUSSISCHE MAERCHEN, published in the sixties by OLDE HANSEN VERLAG, hamburg and BERTELSMANN REINHARD MOHN VERLAG, guetersloh, germany.

© wilhelm m.busch / olde hansen verlag / bertelsmann verlag





jiri trnka 4

10 08 2010

© jiri trnka





just so

8 08 2010

after the animated version of CATS was shelved the first time, that was early 1992, london, AMBLIMATION-studio, STEVEN SPIELBERG was interested in five projects, one of them was – THE JUST SO STORIES, a compilation of jungle tales written by RUDYARD KIPLING. for some months I did numerous designs for the five concepts, in the end BALTO was selected and went into production. following are some of my ‘jungle’ ideas for the JUST SO STORIES.






© AMBLIN/ universal pictures





severino baraldi 1

7 08 2010

SEVERINO BARALDI, born 1930 in sermide, italy, has illustrated throughout his life 220 books and created more than 7.500 illustrations. he is a very private man and not too much is known about his life. after working as a carpenter and a cartoonist for a local newspaper he worked for an advertising agency in milan while attending the artschool there. in the early sixties BARALDI produced two volumes of bible illustrations and adapted the ODYSSEY and PEER GYNT for children. within his seven year association with LOOK AND LEARN he created numerous large and colourful historical pieces. after illustrating the italian comic IL MISTRO in 1996 he concentrated on various fairy tale book collections like the ANDERSON and GRIMM fairy stories, as well as illustrations for tarot cards. following are a few of his children book illustrations.




© severino baraldi





bugs

6 08 2010

after the 1939 animated feature film GULLIVER’S TRAVELS the miami based FLEISCHER STUDIOS released on dec.4 1941 their second feature film – MR.BUGS GOES TO TOWN ( also with the title HOPPITY GOES TO TOWN ). the film opens with an some impressive camera moves down into a 3-D (built) model of new york, going close to street level where the bug-story begins. there are some more highlights, like the tiny characters in the middle of a scary skyscraper construction site. the animation overall is good but the insects are not the most appealing characters. the backgrounds are painted in the traditional watercolor technique, used in most films at that time. only recently I saw an original background and had to color correct all my recreated BG’s, since the faded film I used showed completely wrong colors. the originals apparently were way more colorful. unfortunately there is not too much of the film’s artwork left, even the film is not well known.





© fleischer studios / paramount





moments 13

5 08 2010





landscape

2 08 2010

PEDER MORK MONSTED, 1859 – 1941, was a danish landscape artist, well known for his romantic, poetic painting of nature. he depicted the grandeur and monumental aspect of the landscape, with a remarkable eye for detail and color. the entry on MONSTED in the Weilbach Dansk Kunstnerleksikon characterises the artist’s achievement – MONSTED’S great success was largely a consequence of his ability to develop a series of schematic types of landscape, which could each individually represent the quintessence of a scandinavian, italian, or most frequently danish landscape. in motifs, built up around still water, trees and forest, he specialised in portraying the sunlight between tree crowns and the network of trunks and branches of the underwood, the reflections on the water of forest and sky and snowladen winter landscape paintings with sensations of spring, often all together in the same painting.  insofar as MONSTED included figures in his paintings, these were principally used as ornaments with a view to emphasising the idyllic character of the motif; and only rarely were the figures and the anecdotal element given as prominent a role as in traditional genre paintings.











© peder mork monsted





blitz

1 08 2010

visual idea collection for the 1991 amblimation planned and shelved animated adaptation of ANDREW LLOYD WEBBER’S – CATS.

© andrew lloyd webber / universal pictures / amblin entertainment








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