Scheherazade

13 03 2014

scheherazade 5065 color 2





fun creations 4

11 02 2014

9wooden BG 216
10tiger AA 9122
8jojo E7712
7dino 227
6landscape pan A
5midnight 409 H
4opening dogs
3foliage test26
2interior A
1indian B626

© b i l d e r f a b r i k





you are right

27 09 2013

birds 6a
birds 12a
birds 21a

if you believe these designs were from another axed disney animated film – you are right. more about it in the next post…

© disney enterprises, inc





mulan findings 8

31 08 2013

mulan early design

one of my earliest hun-attack designs, probably from 1995

© disney enterprises, inc





mulan findings 6

16 06 2013

during the pre-production of disney’s MULAN several amazing artists worked in the visual development team, PAUL FELIX was one of them. he always created the most stunning black+white pencil-’paintings’, in his own style – very designed and stylized. he did not mind that I added some color to his black+white jewels, following the stylization in his drawings I wanted to test a different look in color as well. paul worked ( and still works ) after MULAN as a production designer at disney and created the most beautiful artwork for several animated feature films.

felix mulan 1
felix mulan 3
felix mulan 2

© disney enterprises, inc





mulan findings 2

10 01 2013

before I became the official production designer for disney’s MULAN in december 1994 a small team of visual development artists had explored all different artistic directions for a possible style of that project. some of them had nearly worked on and off for 2 years on that. it was a challenge, the chinese typical painting-look was very difficult to copy for the use in animation. it still was supposed to be a disney movie but the studio wanted to come up with a story-typical style for the new projects. it had been successfully done with HERCULES, ALADDIN and LION KING where art-historic and geographic elements had been combined and ‘disneyfied’. below a few of the hundreds of paintings and sketches from that early stage of development. some more will follow

KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA

© disney enterprises, inc





mulan findings 1

3 01 2013

you probably have made that same experience – you search for something and find tons of stuff way more interesting than what you were looking for. it took a long time since my archives has grown too big, but it was worth it. you will see a lot of it in my next posts. today I start with some of my oldest MULAN color designs, from 1995, a mushu cel set-up and a directional map with sequence numbers.

KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA
KONICA MINOLTA DIGITAL CAMERA

© disney enterprises, inc





mel shaw ( 1914 – 2012 )

25 11 2012

MEL SHAW, one of the last DISNEY-LEGENDS, has passed away at the age of 97.


the picture shows him working on BEAUTY AND THE BEAST in london, september 1989.

more information here
and here





mel shaw

29 08 2012

MEL SHAW, born december 19, 1914, in brooklyn moved to L.A. in 1928. after an art education at the otis art institute he joined the HARMAN-ISING studios as an animator, character designer, story man and director. during that time he had a chance to work with ORSON WELLES storyboarding a live action/animation version of THE LITTLE PRINCE. WALT DISNEY hired mel personally after he saw him play in a polo match. before WWII interrupted mel’s career he worked on FANTASIA, BAMBI and WIND IN THE WILLOWS. after the war he started the ALLEN-SHAW productions together with former MGM animator BOB ALLEN, where he created toys and architectural masterplans like century city in california, as well as the illustrations for the first BAMBI children book for disney. mel told me the story where he was involved in the ( stone by stone ) move of the 1831 built LONDON BRIDGE from london to LAKE HAVASU CITY, ARIZONA, in 1968. the bridge was dismantled, every stone numbered and then shipped and trucked via long beach to arizona. what a project! in 1974 mel shaw returned to the disney studios where he helped the new artists on productions like RESCUERS, FOX AND THE HOUND, GREAT MOUSE DETECTIVE, BEAUTY AND THE BEAST and THE LION KING. I met mel during our pre-production work for BEAUTY AND THE BEAST in london in the fall of 1989 and had a chance to witness ( and videotape ) his incredible charcoal technique and the birth of dozens of beautiful paintings.










© disney enterprises, inc / mel shaw





mulan historic 1

10 08 2012

as comparison here are some kind of ‘historic’ designs I did for disney’s MULAN in october 1995. starting with the very first rough black/white sketch, about postcard size, and together with my own logo for the fim, at that time after ‘the legend of fa-mulan’ as a working title ‘the legend of mulan’. the dragon survived in the final logo. then a step inbetween, a marker sketch, about 6 x 10 cm. and the final 12 field acrylic painting on cardboard. the last design in this post is the very first planned cover of the ART OF MULAN book by jeff kurtti. I like the final cover with the original powerful poster much better.






© disney enterprises, inc





special

25 12 2011

a ‘merry christmas’ to everybody who is celebrating the event. for this special occasion I want to show you a selection of designs for several animated feature films created over the past fifteen years by some of the best in their field. PAUL FELIX and a few of his many masterful pencil sketches for disney’s MULAN, as well as some of his paintings and drawings for the shelved SNOW QUEEN project. further MARCELO VIGNALI with his beautiful visuals for MULAN and CHEN-YI CHENG’S ancestor group for the ‘mushu’s awakening’ sequence in MULAN. finally two more stunning jungle action scenes for TARZAN by JOHN WATKISS, and some of the amazing layout work for BALTO created by one of the best layout artists, now animator – BOLHEM BOUCHIBA. I hope you enjoy this very special gallery of the masters – happy holidays.


















© disney enterprises, inc
© universal pictures / amblin entertainment





700

3 12 2011

this is post nr.700. on december 31, 2010, I compiled a LIST OF CONTENT with the first 600 chapters of this blog. soon I will update that list up to this post nr.700. for several reasons I slowed down posting, 100 in one year is not what I had done the previous years since september 12, 2008, when I started ANIMATION TREASURES. but I guess, most of you have never seen all the 700 posts. find out in the LIST OF CONTENT what might be interesting and then find it in the SEARCH-function.

for today I collected some of the reasons why I started to work in the ANIMATION business. in the early seventies I began animating, about twenty years later with the help and advice of RICHARD WILLIAMS and DON HAHN I moved into the concept- and production-design area, where I had a chance to work on some historic animated feature films. and I was very lucky to meet and work with some of the artists who created the masterpieces of the past that had started my love for animation.




© disney enterprises, inc





concept art 1

28 05 2011

below some concept art from disney’s MULAN, created by three masters – ALEX NINO, PAUL FELIX and MARCELO VIGNALI.











© disney enterprises, inc





alaska

25 05 2011

below my production design for a diagonal pan in BALTO from 1993 ( feltpen and gouache ), followed by the final background painted in oil – could not avoid the reflections in the overlay cels.


© universal pictures / amblin entertainment





watkiss 2

16 05 2011

JOHN WATKISS did rough studies like these to plan his big acrylic paintings during the pre-production of disney’s TARZAN.


© disney enterprises, inc / john watkiss





1987

13 05 2011

in june 1987 I flew with HARALD SIEPERMANN to L.A. to do the storyboard for the TOONTOWN-sequence in WHO FRAMED ROGER RABBIT. we stayed as far as I remember five weeks, worked in a trailer right behind the AMBLIN ‘WHILE YOU WAIT’ – building on the universal lot, and created probably a thousand or more sketches. the final sequence was about 15 min long, what was with changes cut down to 45 sec in the final film. I remember one of the first assignments we got from DON HAHN, the assoc.producer, was to create a walk of eddie valiant through a part of toontown. we had to come up with all different light situations. harald did the sketch, that I colored from memory below, I painted then in 1987 the whole pan without the character and ILM used the whole set-up to create the light effects and the combination with the actor BOB HOSKINS as a test.

© disney enterprises, inc
© universal pictures / AMBLIN entertainment





fun creations 2

29 03 2011










© disney enterprises, inc
© universal pictures / amblin entertainment





balto reference

18 01 2011

here is some of the reference for BALTO. I collected hours of TV-reference about alaska and snow landscapes in general, analyzed them all and printed hundreds of color-videoprints. a selection is below, as well as some of my designs for the aurora borealis in wolf-shape for the ending of the film.



© amblin / universal pictures





alex nino 8

29 05 2010

and more of ALEX NINO’S amazing inspirational art for disney’s MULAN








© disney enterprises, inc





alex nino 7

3 05 2010

some more designs from the MASTER, ALEX NINO. they were done during preproduction of disney’s MULAN around 1995/1996. alex told us in one of his lectures here in the philippines, when he was a boy, about ten, twelve years old, his parents did not have enough money to buy him paper and pencils. so he went to the beach, not too far away from where he grew up, and practiced his drawing skills, drawing with a wooden stick in the wet sand.








© disney enterprises, inc / alex nino








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