mother goose

21 05 2018

following some designs created by EYVIND EARLE for the disney special THE TRUTH ABOUT MOTHER GOOSE in 1957. at that time EYVIND EARLE must have been very busy with his production design and backgrounds for SLEEPING BEAUTY, what was released january 1959. it must have been quite challenging even for a genius like EARLE to come up with a style that was supposed to look different from his sleeping beauty look, and that parallel working on both projects. that’s why I am not surprised to see a certain MARY BLAIR and WALT PEREGOY influence in his mother goose work, lots of inspiration from other illustration of that time, like ALICE and MARTIN PROVENSEN, and the simplicity of the tv-commercials of the fifties. it show how much EYVIND EARLE was informed about the artworld and constantly was challenging himself to develop into a new direction.

© disney enterprises

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disneyland art 1.1

14 04 2018


disneyland castle – Herb Ryman


diamond horseshow revue mural – jon de cuir 1970


snow white grotto – John Hench


disneyland arieal view – peter ellenshaw 1954


new orleans square – herb ryman 1964


mermaid lagoon – herb ryman 1957

© disney enterprises





beethoven’s fifth

3 06 2017

a few of the ideas I painted in 1994 for the BEETHOVEN’S FIFTH segment in disney’s FANTASIA 2000

© disney enterprises, inc





tin soldier

27 05 2017

in summer 1994 I started to work at disney, after several years freelancing, with a seven-year contract. my first assignment was the style development and visual research on 5 projects – all at once! HERCULES, TIN SOLDIER and BEETHOVEN’S FIFTH ( both FANTASIA 2000 ), DINOSAUR ( first CG prod.) and FAMULAN. I don’t know what the reason was for that ‘overload’, it was a challenge. I started to work on the single projects one every week, using the weekend as kind of a mental break. but it didn’t really work that way, because the production schedule didn’t follow my schedule. the result though were dozens of color sketches and the complete color-script for HERCULES, until GERALD SCARFE took over in autumn 1994. TIN SOlDIER was first planned as traditional animation, they changed it then into a CG piece, horrible in my opinion. and BEETHOVEN’S FIFTH turned out a bad experience, because I could not work with the director. DINOSAUR was a lot of fun, because it was a new world, they invited specialists, who taught us about the look of dinosaurs and the environment of that time. and then of course FAMULAN, what became MULAN. based on my early designs BARRY COOK, the first director on the project, asked me beginning of december 1994, if I wanted to take the job as production designer.
below you see some of the designs I did for TIN SOLDIER. I had to restaure some of them, the color xerox quality in the nineties was bad.

© disney enterprises, inc





recreated animated treasures 2

24 01 2017

from disney’s SLEEPING BEAUTY two more recreated multiplane background pans. note in the second BG the perspective- and subtle color-change

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© disney enterprises, inc





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.

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© disney enterprises, inc





style 9.6

1 10 2016

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