style 12

10 02 2016

style-header

EYVIND EARLE designed these beautifully styled backgrounds for the 1957 released disney animated short THE TRUTH ABOUT MOTHER GOOSE. the story was based on the MOTHER GOOSE nursery rhymes, directed by BILL JUSTICE and WOOLIE REITHERMAN.

KONICA MINOLTA DIGITAL CAMERA

mothgoose

mother goose bridge

mother goose 3

© disney enterprises, inc





beauty

30 08 2012

the reason why I recreated this stunning background from disney’s SLEEPING BEAUTY was pure curiosity, I hope the original is still in the disney archives ARL. it is a long and complicated combined pan with a camera-turn, must have been pretty long in three multiplane layers in original, I guess in 2 pieces, where the cut edges could have been covered by the foreground foliage. I explain some of the details in the first image. the tilted angle is the result of the camera turn – I started with the recreation in the normal horizontal position of the first frame, the second image shows the whole BG in a better readable angle. see the beauty of this piece of art yourself, the first reaction might be – incredible, all the detail! yes, but it doesn’t look overloaded like so many backgrounds today and the characters read perfectly clear, because the color range and the values are very close. amazing as well the composition – the cathedral-like trees that create the ‘background’ with the more irregular and curvy tree-shapes in the foreground. the foliage adds the playful rococo detail in front of everything. it is all controlled and looks so light.


© disney enterprises, inc





style 8.3

25 06 2010





I have seen and studied the film SLEEPING BEAUTY many times. there is not one background-painting that is not on style, has not enough, too much or the wrong detail. the film is in superwidescreen ( super technirama 70, that is a 70mm filmformat ) and the composition in every single scene is a masterpiece. not one part of the entire movie is colorwise out of place, everywhere the characters read perfect in their environment, and – these characters are all painted on cels, with matching color-outlines.



today it is so easy to color-correct digital images. imagine the challenge in the mid-fifties, imagine multi-layered multiplane scenes, where the character-colors had to be adjusted to the amount and green-shading of the glass layers in front. it is hard to believe, that all these visuals look flawless, perfectly controlled. and I am not even talking about the numerous background painters, who had to follow the style that EYVIND EARLE had developed.



he first needed to come up with a look and to paint all possible different locations in the film to give examples of the look of wood, stone, foilage, grass, rocks, trees, metal, pottery and more, so the team could follow and copy his style. I am sure he painted some hundred backgrounds. I know that he had an incredible knowledge of art-history, he knew paintings and styles from all over the world. without a knowledge like that you could not have the idea what different artforms to combine. these ingredients can be from areas far away, time- and locationwise. imagine – to mix medieval, gothic art from the 13th century with little details of persian-, japanese- and indian art, to create a forest that reminds you of the interior of a cathedral, and the grass fields of ancient tapestries.


some critics say the backgrounds are overpowering, dominate the look of the film. not for me. I think it is the perfect balance of a fantastic fairytale world, an operastage with flawless characterdesigns and animation. a true masterpiece and a piece of art that you won’t find anymore nowadays.


© disney enterprises, inc





style 8.1

23 06 2010


EYVIND EARLE was born 1916 in new york city, but moved already after two years with his parents to hollywood. his father, ferdinand, was a professional painter who had studied with ADOLPHE WILLIAM BOUGUEREAU and ABBOTT McNEILL WHISTLER. he soon became a busy art director and scenic artist in hollywood. from early on eyvind was educated by his father in the arts. when he was ten the parents divorced and eyvind followed his father on longer trips to mexico and europe. already after a few years, age 14, he was good enough to have his own art show in southern france. later at the age of 21 he crossed the northern american continent on his bike, painting a watercolor on each of the 42 days it took him. already three years later the metropolitan museum of art bought one of his watercolors for its permanent collection. the same year eyvind started his own christmas card company, printing them as serigraphs. 1951 he joined disney as a background painter, working on FOR WHOM THE BULLS TOIL, MELODY and TOOT,WHISTLE, PLUNK AND BOOM. finally he was offered the position as production designer, color stylist and background painter for SLEEPING BEAUTY. paralell during that time he designed for the shorts PIGS IS PIGS, GRAND CANYONSCOPE, PAUL BUNYAN and LONDON BRIDGE. he colorstyled the night/park sequence in LADY AND THE TRAMP and designed 5 murals for disneyland. in 1958 he left disney and started his own company, producing commercials and title graphics, as well as the logo trademark trailer for universal pictures. later in his life he dedicated all his time to painting, becoming very successful with exhibitions in museums and galleries around the world. in 2000 he passed away, 84 years old.



I want to concentrate in this post and the next ones on EYVIND EARLE’S unparalelled stylistic design for SLEEPING BEAUTY. from what I have heard from artists they worked with him, he must have been a very difficult character to deal with, very demanding. well – look at all the designs and BG-paintings he created for SLEEPING BEAUTY! masterpieces! usually I am not a big fan of extremely detailed backgrounds, but in this case it is different. all the detail in his artwork works as a texture like in the medieval gobelins. he was very careful with the design of these textured elements, like the plants and trees in the forest, the interior of the cottage or the stone walls in the kings castle and the different more mossy walls in maleficent’s ruins, that the paintings never feel overworked. on the contrary, they are the perfect stage for the very designed and less detailed characters. the color-combinations throughout the whole film are some of the most beautiful and tasteful in animation.



© disney enterprises, inc





sunday inspiration

9 08 2009

1kley86
heinrich kley

2edelmann760
heinz edelmann

3moebius83
moebius

4provensens66
alice+martin provensen

5searle56
ronald searle

6trnka97
jiri trnka

7m.drucker36
mort drucker

8earle65
eyvind earle

9erlbruch75
wolf erlbruch

10j.bauer764
john bauer

© heinrich kley, heinz edelmann, moebius, a+m provensen, ronald searle, jiri trnka, mort drucker, eyvind earle, wolf erlbruch, john bauer