the following reproductions were taken from KUENSTLER-MONOGRAPHIEN VOL.1 WILHELM M.BUSCH, 1983, edition curt visel. busch is in the photo during his class at the hochschule fuer gestaltung hamburg, the pencil illustrations were done for a german magazine in 1952. the last two ballpoint-pen drawings for GOETHE’S – DAS TAGEBUCH ( the diary ) 1969 – show how busch worked, a rough red and blue-line sketch with a cleaner black-line on top.
© wilhelm m.busch
in case you wondered where the connection is to the ballet Coppélia, there isn’t any. I just needed a name for my little ballerina traveling through the last 80 years of modern art. whenever there is some time left I will continue her painted adventures.
since I saw disney’s PETER PAN for the first time I was fascinated by one extremely long scene – the flight over london and through the clouds. I was convinced that it was a very complicated multiplane arrangement. the combination of character-animation and camera-moves was never explained in any publication about the film. the whole scene is very well planned with the characters moving from far away to extreme close-ups, they turn around their axes and – to make it even more confusing, the camera moves tilted in and out of the background, towards the end apparently with several cloud-layers, below and on top of the characters. stunning!
well, I found an early layout sketch that showed me the basic planning. then I did what I have done so far with over 600 backgrounds, – patch the single screencaptured puzzle pieces of the whole scene together. in this case I have to admit, it was the most complicated ‘reconstruction’ I ever did. the characters were all over the place, covering a lot of detail in the BG, the camera was constantly moving in and out and tilting… it took a while! but it was worth it – now I can see the genius-work in the planning, what an incredible idea!
and – it is not multiplane. patching it all together I noticed that. and – when you look at the scene you understand why multiplane was no option anyway, with all the moving shadows of the flying characters on top of the clouds and all that on focus. impossible in a multi-layered scene. the simple solution – the clouds were airbrushed on different cels and then moved in different speeds. only in the last seconds of the scene, where the camera moves in close to the star, one cloud-level is multiplane. the difference in that case was, the camera was trucking in and a 3-D effect was only possible with an extra cloud-layer.
you can see below the final re-created BG as well as the whole piece with added camera-fields to indicate the camera moves + corresponding screencaptures. and – the whole extremely long BG in 4 pieces in higher resolution.
© disney enterprises, inc
NOTE on july 31, 2011 -
please be so kind and read the comments about this post below. I have to correct myself – it is a multiplane-scene. the precise movement of every single level in the multiplane camera had to be planned in advance anyway. the shadows were just connected to each of the cloudlevels where they had to appear. the animation was done according to the layout of each cloudlevel and was laid as a cel-overlay on top of each them. a little bit complicated in the planning stage, but the same department had managed more complicated assignments, like the truck through about 12 levels with animation in pinocchio ( the daybreak sequence ). sorry for all the confusion, for me the scene is a masterpiece anyway and I guess that the recreation and discussion about this lost jewel helps to understand the inventive filmmaking of the past.
© bilderfabrik
for everybody who is not familiar with REGIS LOISEL’S comic-strip work I am posting some pages, sketch-page and final color-page, as well as some character designs from his PETER PAN comic-strip version. the six-volume series was published in france between 1990 and 2004 by EDITIONS VENTS D’OUEST ( http://www.ventsdouest.com ). the titles of the series are – LONDRES, OPIKANOBA, TEMPETE, MAINS ROUGES, CROCHET and DESTINS. next will be more of REGIS’ MULAN designs.
© regis loisel / editions vents d’ouest
as far as I remember it was sometime in 1995 during the preproduction of MULAN when my producer at disney PAM COATS asked for my advice about possible illustrators or comic-strip artists who might be willing to work with us for a short time. the more diverse in style, the better. the first name that came to my mind was REGIS LOISEL, next to MOEBIUS one of the most influental french comic-strip artists. after his stunning four volume series LA QUETE DE L’OISEAU DU TEMPS he had started his version of PETER PAN that promised to be even better. I admired the worlds he created, beautifully designed environments as well as very unusual character-design. and – what I liked the most – he was as much away from disney as you could imagine! that’s why I did not really believe he would say yes. finally I talked to him on the phone, he tried to speak a bit english and I tried to remember all my half-forgotten french. somehow it was a good conversation because he agreed to come to L.A. for two weeks to work with us.
these two weeks I will not forget, we spent a lot of time together. next to working with him in my office I showed him L.A. and some of the neighborhood. and we had great dinners and a lot of wine. my french improved and REGIS even learned to comunicate with the other artists in english. he was the nicest guy and what an artist! anyway – we stayed in touch for a while afterwards until he moved to canada and I left disney. his series PETER PAN became a six volume MASTERPIECE. as soon as he had finished a new book he sent me a copy together with a beautiful sketch, treasures in my collection. recently I found copies of the MULAN-designs he had done during the two weeks he stayed with us and I am planning to post some of them. in a way his designs are very similar to ALEX NINO’S work, but he added a lot more story in his sketches, came up with great gags and ideas I wish we had included in our film.
© disney enterprises, inc / regis loisel
three stylistically very different disney animated feature films and three layout-drawings created by masters. THE BLACK CAULDRON is not necessarily one of my favorite films, but it had some interesting preproduction artwork and some amazing layouts, like the first one below from around 1983, drawn by MIKE HODGSON. the next pan, drawn by the head of layout himself – DON GRIFFITH -, is from 101 DALMATIANS, around 1960. I wrote before about the RONALD SEARLE influenced style that KEN ANDERSEN had developed. and the last stunning pencil-‘painting’ was created by TOM CODRICK for BAMBI, around 1941/42. it is the 2.level of a multiplane set-up with another foreground and a BG-level below.
© disney enterprises, inc
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