recreated animated treasures 1

2 10 2016

now that I got most of my favorite animated films in blu-ray I realized with pain I probably have to redo most of my recreated backgrounds. they were all done with screen captures from DVD’s. you can see in the recreated BG from disney’s SLEEPING BEAUTY below the big difference, so much more detail and it nearly looks like the original artwork in front of you. blu-ray even reveals sloppy jobs or painting mistakes once in a while. this forest BG might not exist like that in the disney archives, because it was painted in 3 different layers, a masterpiece! I am sure it was painted by EYVIND EARLE himself.


© disney enterprises, inc


24 11 2012

here are a few more recreated backgrounds from FLEISCHER’S SUPERMAN shorts, some pretty impressive city views. all from 1942, ELECTRIC EARTHQUAKE, MAGNETIC TELESCOPE, SHOWDOWN and BULLETEERS.

© fleischer studios

snow white BG’s 3

15 07 2012

a few more recreated backgrounds from disney’s SNOW WHITE AND THE SEVEN DWARFS

© disney enterprises, inc

comparison 7

1 01 2012

here we go – another year. hopefully a good one, – I doubt it – too many dark clouds on the horizon! anyway, I want to start the BLOG-year with some beautiful artwork, already over fifty years old but for me better than most of the film-design artwork I see today. the disney animated feature film 101 DALMATIANS was released january 25, 1961, the first of the disney films that had a very different style. the animation was xeroxed and showed for the first time most of the original drawings of the animators. the corresponding backgrounds matched the loose lines of the animation perfect, the background details in line were xeroxed as well and the cels placed over the slightly offset gouache colored backgrounds. stylistically a masterpiece. following are a few layout drawings with the recreated backgrounds.

© disney enterprises, inc


15 09 2008

again – disney’s BAMBI. every single background in this film is a masterpiece. I guess there are about 1.200. and sometimes the most impressive are the less spectacular ones, like these rocks in the middle of the meadow. look at the reflective color, the grey-violets in the middle of muted yellow-greens. the painter did not copy a reference photograph, he knew how far he could go with the color combinations. just a bit too much violet or yellow and it would have looked horrible, like a lot of the backgrounds I see today. the biggest problem in those days was the transfer to film and the result after the film was developed. in technicolor you had to paint completely different to achieve the desired colors on film. all paint-colors had to be mixed with a certain amount of grey, but too much of it would have made them look dull on film. even when we did MULAN it took a while to create the range of muted colors that were allowed, and to find out how the result on film would look like. it was a nightmare! imagine, half a century after the creation of BAMBI, with all the so called improvements in technology. and still sometimes we thought the guys back then did a better job! they had to paint in oil, consider the different color range through several layers of glass – unbelieveable!

© disney enterprises, inc


13 09 2008

probably about 2 years ago I posted on my TREASURES-blog the whole reconstructed opening of disney’s BAMBI. but recently I worked on it again and noticed that the camera is trucking in way more than I had realized in my first version. this is a very tricky multiplane set, probably 7 or 8 layers are moving in different speeds to give you the feel of depth. that makes it very difficult to assemble frame grabs, especially when the camera additional to the side-move starts to truck in. I am still working on the whole masterpiece-scene, but for now I wanna show what I have finished so far. I wish I could have seen the glass-layers in original!
again, everything is painted in oil on glass. the in the camera visible field-size of the different layers probably varied between 15 field in the very background and 5 field in the closest foreground. you can imagine how difficult it is to plan a multiplane scene like this in its complexity. to figure out the right sizes of the split levels – because in the very early design stage the whole design is planned in one piece, one size. then the layout artist splits the design in different layers, has to draw them again because of the covered areas. after that the layers are reduced in size to fit the viewing angle of the camera lens. and the speed of every single layer has to be determined. imagine, a smaller field closer to the lens will move faster than a background level further away. that and the out of focus and size difference from layer to layer give you the feel of depth.

© disney enterprises, inc

a mouse

12 09 2008

I am sure you remember these 2 BG’s from the opening of disney’s BAMBI. they were painted in oil but on cardboard. unfortunately they are lost as well. look at the color combinations, just beautiful!
I add the color patches for you to see how little primary colors were used.

© disney enterprises, inc