WISNEY SKETCHBOOK A DISNEY SKETCHBOOK ‘iors a9 prin of foer ory ay mean, Home an eve msn from the pu esd by Tim alin snd Alferd Ghai Feri SD ay MOR Fh Anse NeW Ys See York 11-5698, Fone! Disco Wray Lette, ‘eoatte Linon Jase Whe Nom LIL6560.0 ame Ch Fist Bditon Woosvasasat Gots.2835.2 2299 ‘D3 The OME DAaN5 FaChh A DISNEY SKETCHBOOK FOREWORD Hand-drawn Disney animation holds @ unique place an the history of medern art and popular cultute. The work showcased int tis book comes from Disney artis and animators who brought great pestormanees te the ‘teen by drawing with emotion, sincerity, and tensity: Knowing fall-well thas ‘many of these sketches would be seen only in pescil ests and preliminary. screenings —or never © all she artists “drew From wi sheet of paper o: digial tablet in the process, they created :nczedible works of art ur their own right: While reviewing a few of his own rou imation drawings made for Peter Pan, Frank Thomas, one of Walt Disney’ original "Nine Old Men,” once explained tome that ke and his colleagues never thought oftheir dsuwingg of art. “We were working to communicate the story.” he said, “and owe were thinking about what the character was zhuohiag and feeling not only 1 this moment, but iv the one kefere it and the one after 1c, We werent thinking akeut making drawings: We sere thinking about relking a story." Unprocessed, cninked, unpsinted, and un-eadeted, a sslection of Pasney ravings i reproduced here as if drawn into a sketchbook. This Sketchbook celebrates the very early stages of Disney filmmaking, in which the human touch defires boch a characters performance and its role in telling » sory ravings used for story and visual development, animation chuminails rough anoracion drawing, layout drawings and ether works have beer: organized in 2 rough chronological order, withthe knewledge shat ssany ofthese fins and thwir produetion stages often overlapped Works from known Disney attits representing each major period o' ‘output so far have been included, Here are dawings by Lib [vecks, Joe Thomas, Ollie Johnston, Marc Davis, and Mile Kabl, a5 well as chose frou com temporary animators Andreas Deja, xic Goldberg. and Glen Keane. Also included are Studio drawings by many other Disney artists, and some by unknown artists. “The concept for this publishing project was eo build an artifact—a sketchbook that may have been passed around The Walt Disney Studios lor, one i which artists have studied each other’ work over very different periods oftime, and then added their awn sketches and ideas to inform succeeding generations of vial ha sketchbook yet. so we made one of cus own seorytellees, We haven't found st tunail we do, Hece itis assembled with loving care by Disney Edicions Assoc Falter Jersie Ward and Senior Designer Al Giuliant from our Disney Publishing “offices, Also on liad to provide expert production guidance for this project were Donaa Kerley, Nisha Panchal, and Jennifer Eastwood. {Without the support of Andreas Deja, whe generozsly shared his collection, Ene Goldberg, anc Lella Smut (and her expest, hardworking team a the Walt Disney “Animation Research Library), this would have been a much lester proyect indeed. Te celebraces “This is a book intended to be more of a visual “romp” than a “ead the at of drawing, and sve hope ic inspires artists and fans everywhece Ken Shue Vice President, Disney Publishing Global ‘ire Development Glendale, Cafornia INTRODUCTION Every drawing in this collection cepresence @ step in a process af diermurty Like other fine artists, the Disney animators, designers, and story artists whose work appearsin this anchology dis’ know exactly what iewings would Took like until they veve Finished, but th what those drawings lic te do and np The ugh fen enttv ew abo te amian egg discovering the best way io present a character ata specific moment in astoxy The storyboard pane! Fy Bill Meet fom The Jungle Book # one of many perhaps dozens, the great story ati drew trying ro find the poses for Mol: and he monkeys that communicated the key iafoemation in the scene mest eleaey earls versions, Mewpltsexpreseen ssould have been different. The monkey and bsanches would have been in diferent positions. Pect drew and eedcew until he hac’ gotten al dhe encertainment petentia! + of the moment thas be could, Other arsists and Wal, Disney would have examined Peet's sorybourde and made suggestions that led co new drawings, which were clearer or mote deamatis or funnier. Looking hack over the sketc the made when he was designing Beast, Glen commented. “Wes yout design a character for going ca become the definicive daigh for thee hack something cus, needed tw put going to live on in history as the Beast pissy fairytale, as ‘lacaster, 29 yn d the kind of care I Fle + warcanted if its Antere was ne’ model sented with funay hotrs and eas, B alien who dient should look like, Keane initially expeste jut they rade the characte: look hike an lic's wenld. Ele started over, studying animals in Zoo, and combining elements of a gocilla, bison, wol, lon, bees, ver! wld base sto de Beast thae Helle learn te Inve Animators find inapiration: everywhere, Ole Johnston realized how Fauna ! 'y would act when be watched a litle old lady ch vacecion 1. = hotel agree wich everything her friends said —eve on when chey contmdicted tach ether For One Funded! and One Dalmatians, May ke Cruella De Vil meve “Tike someone you wotildn' like, Sleeping ea Davis winted