Diane Disney Miller 1933-2013

 

Sad news. By all accounts a very smart, gutsy, caring, determined woman: daughter, wife, mother, sister, philanthropist.

 

 

 

Outside the Walt Disney Family Museum.

 Here are Michael Barrier's impressions of his visit to the Disney Museum in San Francisco-the very existence of which is due to Diane Miller's vision and hard work.

Roy Disney Has Died: 1930-2009

Roy Disney. courtesy of cresenteulit.com

Animation has lost a great friend who more than lived up to the legacy of his last name.

Roy E. Disney. "Roy Boy", yachtsman and master of the Shamrock and Pyewacket, father, husband, son and nephew passed away from cancer today at the age of 79.

I've just read about it here, at the blog of the Animation Union Local 839. They have nothing more at the moment but I hope they'll write a longer post about Roy (he was known to everyone on a first-name basis as were his father Roy and his uncle Walt).

There's a lot to be said about him. He was by all the accounts I've ever heard an accessible, friendly, direct and intelligent man whose belief in his family's legacy of entertainment-quality entertainment-was borne out by a hell of lot of hard work both in front of and behind the scenes of the Disney studio.

It can also be fairly argued that it's through his personal efforts that we have any kind of viable feature-length animation scene in place today, much less one that makes billions and has changed the face of entertainment, not incidentally furthering the development of an artform.


He will be terribly missed. I'll miss seeing him--he always made a point of attending animation get-togethers, ones other men of his stature might have found too humble to bother with. He loved artists and was loved by them in return. Vaya con Dios, Roy.


EDITED TO ADD: There's an obituary up at the Los Angeles Times blog, which must be seen not least for a great photograph of Roy circa 1985.

A Dynamite Disney Item that got away...

Hal King seems to have redrawn "Bacchus" as Fred Moore in departing Disney employee Sally Holmes' book

Some readers of Blackwing Diaries have noticed that my entries weren't as frequent after 2007 got going. Those who read everything I've written and have an excellent memory and/or know me personally can figure out why that was, but I do feel a not unpleasant nagging urge to keep it more up to date than I have.

Life will keep happening though, and while a recent(and not quite uncompleted) move, a change of jobs, and the signing of a book contract mean time's even more elusive, there are so many interesting and exciting things going on in animation now that I expect the Blackwing posts will appear much more often.

And then there's the flip side of writing: reading. In tandem with less blogging there's been substantially less reading of other blogs. Truthfully, this has bothered me more than neglecting to post on my own blog, as once one falls out of the habit it's difficult to keep up. And it seems more talented and uniquely interesting artists are starting blogs everyday. Thank goodness they're doing them, and that some veterans have decided it might be worth it to maintain an online place to post their own work, too.

There are probably three blogs I've never stopped checking almost every day: the ubiquitous Cartoon Brew, and two others-one by a writer, historian and critic, the other written by an animator and longtime owner of his own Manhattan studio:: Michael Barrier and Michael Sporn, respectively. I can't exhort all of you who are serious about animation too strongly to visit them on a regular basis. I know many often disagree with the opinions expressed in them-I certainly have-but they continually post important and rare material, as well as views, news and serious discussion about our medium that you're missing out if you don't have a look.

And those are just three. There are dozens more with marvelous stuff every day. This post is the result seeing of something I missed because I hadn't dropped by a blog in too long: in Mayerson On Animation, Mark Mayerson's blog, he shared a (sadly ended) Ebay auction item's webpage...and what an item: a woman named Sally Holmes who worked at Disney through the early 1940s left to start a family. In lieu of a going-away card a mind-boggling array of animators signed and illustrated her copy of the large, lush "Fantasia" book that had been published concurrent with that film's release (this isn't the first time I've seen that book used as a yearbook by Disney employees-Bob Thomas "Art Of Animation" book of the late 50s would serve that purpose a decade later).

You've got to see these to believe them. How about Ward Kimball doing his thing-and Milt Kahl finding Ward an irresistible act worth following. So to speak:

Ward:


Milt:

And of course, Fred Moore:

John Sibley:


A beautiful little painting by Jesse Marsh


He signed it, too.

There are loads more where that came from, including a NSFW Donald and Goofy (actually they're safe for our line of work, but if you work at a more conservative establishment, well...). The original seller's page is here. As he notes, this was sold a few months ago, so that's that. I'm sure it has a good home.

Torch Tiger tales

Cover painting by Paul Felix

Last year the story department at Walt Disney Feature Animation put together an amazing book, "Who Is Rocket Johnson?" just in time for the San Diego Comic Con. It sold out in very short order, and remains a bright gem of a compilation. Utterly unique and as representative of the talents at work at Disney as anything could be. One should never miss the chance to see--and own--the personal work of men and women like this-mostly story, a couple of directors and animators in there too-who are at the top of their game.

No sooner had he pulled the first copies of Rocket Johnson out of the box than the chief instigator of the project, Paul Briggs, laid plans for this year's book: "What Is Torch Tiger?"

Well, the books have arrived and as was done last year, Briggs and the gang are kicking off its official debut with an Ebay auction for a special copy of this beautiful book-signed by all the participating artists, as follows:

Steve Anderson
Aaron Blaise
Paul Briggs
Kevin Deters
Rob Edwards
Mike Gabriel
Nathan Greno
Don Hall
Byron Howard
Trevor Jimenez
Mark Kennedy
Joe Mateo
Nicole Mitchell
John Musker
Jeff Ranjo
Aurian Redson
Jeremy Spears
Lissa Treiman
Josie Trinidad
Chris Ure
Mark Walton
Dean Wellins
Stevie Wermers
Chris Williams

And as if that lineup isn't enough, there are also some pin-ups by:

Andreas Deja
Andy Harkness
Jeff Turley
Jin Kim
Shiyoon Kim

Remember, all these artists have signed the special copy now on auction at Ebay. The actual book itself doesn't otherwise go on sale until Comic Con opens next week, so if you can't make it to the Con and would like to both snag a lovely, brilliantly produced book and have every penny of your bid go to a worthy charity--the National Multiple Sclerosis Society, click on this link and give it a go. I did last year--and was outbid. Well, try, try again. You won't be sorry and you can write off your winning bid, both feeling good and having something rare and good to read at hand.

Torch Tiger Signed edition plus extra goodies Ebay Auction

I haven't seen all the stories, but since I did see this one and I can't help embarrassing him I want to add that it'd be worth it for Jeremy Spears' story alone. He did a wonderfully atmospheric tale with appealing characters and fantastic staging, completely lovable.
Now multiply that times 30 and that's Torch Tiger. They've each put their hearts and souls into their own versions of the theme and always, of course, had to navigate their day jobs at the same time, with the redoubtable Briggs cracking the whip and wrangling the printers on top of everything else. What's that bit that Bud Plant always adds? "Highest Recommendation"

Ward had a hell of a nerve

click to enlarge

Over at the union blog Steve Hulett posted a link to a Life magazine photo archive that deals with Walt Disney. Lots of interesting shots there, not all just of Walt. But I really love the one above. I've seen others from this same session but I can't recall ever before noticing that killer caricature of The Boss smack dab in the middle of it, pinned prominently next to Ward's desk. What an expression.

It looks like there's one of Walt Kelly's "Ward's life" gag drawings hanging from the shelf under the lamp, too. You know, one of these days someone's going to do a book...

Kahl Conversation

A short time ago the motion picture Academy had a tribute to Milt Kahl that sounds like it was quite an evening--if you managed to get in (many ticket holders didn't, due to a snafu of some sort).

I wasn't there, unfortunately, but the ensuing mention of it on Michael Barrier's blog and the comments that followed are well worth reading, even though I find I don't entirely agree with anyone's opinions. But that's what makes a horse race. I only just discovered it and suggest you have a read here.

The screen cap above is from a scene near and dear to me and the friend I first watched it with back in the early 80s: the brilliant animator captured in the act of drawing. Talk about intensity.

We watched this episode of the "Disney Family Album" series on Kahl with a lot of awe and a wee bit of fear. Actually, the shots of Kahl relaxing outdoors somewhere up in the beautiful Bay area sunshine were charming, but nonetheless there seemed some undercurrent of coiled tension, of his just barely tolerating the process of being interviewed. Having also heard once-in-a-lifetime stories about working with Milt from his colleague Dale Oliver involving the breaking of Bakelite and other forms of studio equipment might have colored our view. Imagine handing this man some cleanups!

But make no mistake: we were in total thrall to the man's artistic skill. I would have "suffered" working around him gladly for the experience-and it was clear that Oliver and others had relished it and wouldn't have traded it for anything. Such is the spell of genius. I'll bet it didn't hurt that he also appeared to have had a terrific sense of humor. Here's to "Miltie-pie".

Oh, Miltie-pie, if I should die,
Please bury me in 3C-12.

Then I'll know why, but never cry,
About the pictures that they shelve.

I'll gaze upon, what's going on,
And get it straight from Walt—

And then I'll see who's blaming me,
When it is not my fault!

I'll get firsthand, the things they've planned
That animators never know.

See color shots, hear story plots,
Gee, I can hardly wait to go.

Yes, I like Forest Lawn, but when I'm gone,
You know where I'd rather be. . . .

I don't mean heaven, or 3C-11,
It's 3C-12 for me.

-attributed to Milt Kahl & Frank Thomas

Walt Stanchfield Lives

It would be a safe bet that anyone working in the american feature animation industry has either known, heard of or seen the influence and artwork of the late, great Walt Stanchfield.

Stanchfield was a longtime animator at the Disney's from the postwar era through his retirement in the 1980s, but what made him famous beyond the walls of the studio were his handouts-his notes from the classes he taught in gesture drawing. Using a model in quick poses, the task was to capture the essence of an idea-to distill as economicallly as possible all the life, weight, and story the observer could find in the pose.


I really can't say much about Stanchfield that an old friend and student of his couldn't say much better: Dave Pimentel. Dave was an avid student of Walt's and took his lessons seriously-retaining enough to teach the "Stanchfield way" himself in recent years. I'd seen some of the notes and had the odd mishmash of 100th generation xerox copies passed on to me over the years, but sitting and doing it was something else again. There's no substitute for drawing, drawing, drawing, and the enthusiasm of a true believer like Dave really revs up the motor.

As you can see from Dave's post, the notes from his legendary drawing classes have been compiled into book form in two new volumes edited by Don Hahn. These are an absolute must for any artist-forget about their importance as "animation only"; there's gold there for anyone. Frankly, for someone who simply thinks idly of drawing for their own pleasure but no clue how to go about it, I'd point them to these books-but the contents are also bedrock for the most serious draughtsman. As Dave points out, this guru of the pen was also full of life lessons. He must have been an incredible person to know. I wish I'd been able to meet him as well as take his classes, but at least there's a benefit of these new books. A lot of thanks are due to Don Hahn for getting them into print.

Mary Blair's Alice Redux

From the Cowan Collection

Bob Cowan (he of the incredible collection of animation art) was kind enough to share this with me, and allow me to post it for you.
I really love this painting. Click to enlarge it.

Mary Blair and Alice...by Kent Melton and Electric Tiki

From Electric Tiki. Kent Melton after Mary Blair

Here's something that's got to rate as one of the neatest collectibles ever--sculptures of Alice in Wonderland and the White Rabbit based on Mary Blair's artwork(and licensed by Disney, of course). When I first saw this I just about jumped out of my skin. Fantastic!

Alice stands about 5" tall and should retail somewhere in the $120 range. For two figures of this quality in a limited edition it'll be well worth it.

This was an idea hatched by the company that made them, Electric Tiki--to create figures that based on Mary Blair's visual development and try to capture her unique style in three dimensions--and I think it's a great one. I've seen Alice here from every angle and the detail and appeal is all there. Below is a detail of the artwork that the figures are based on. They were the only reference used by the sculptor--the fantastic Kent Melton.

I can't wait to get my hands on this set(it will be sold as a pair). The ETA is summer '09. Until then, enjoy the preview.

Where's Walt? a Disney photographic mystery posed by Michael Barrier

Please click this photograph of Walt Disney somewhere in (I believe) Irish waters in 1946, and see if you can tell what shoreline that may be behind him. Is it England? Could it be America?

In the course of his years of research, author Michael Barrier (his latest, "The Animated Man: A Life of Walt Disney" is a must) has collected a lot of fascinating ephemera, including a couple of photos of Walt that even he can't be exactly sure of--though he gets pretty close. The above is one of two that show Walt on board ship in late 1946.
I borrow it here as I know that a 1) a lot of Irish and UK people read this blog and might be able to ID a black and white image from the late 40s, and 2) because it's not often enough that I point readers to the Barrier blog, which always has plenty of interest to enjoy.
Michael Barrier
photograph of Walt Disney from michaelbarrier.com

Fred Moore, Cuban style

click to enlarge

Many moons ago during the Fred Moore marathon here I posted some terrific rough character drawings Fred Moore did of this little Cuban rooster.   Here's one more, perhaps one of the best.  As with the vast majority of the others this is from the collection of James Walker--a man whose generosity (as well as his love of Fred Moore's appealing drawing)  is boundless.  A little end-of-year treat for readers of the Blackwing Diaries.

At the time I knew only the sketchiest details of the project they were created for, but thanks to a post by Wade Sampson that you can read here, I know more.  Fred Moore...in Cuba.  Something tells me that trip would make the wild spree in Guys and Dolls seem like a girl scout bake sale. But as nothing much has ever been said about it before to my knowledge, perhaps not. Either way, Fred did some wonderful work on that trip that shows he still had it in '46-about the time he was fired from Disney's.
As Sampson mentions, Disney historian J.B. Kaufman has been working on a book about all of the Disney Good Neighbor/Latin American films; after seeing the Ted Thomas documentary recently I'm especially looking forward to its seeing print.

This 'n' That

Retta Scott at her animation desk at Disney's


Where did October go?

The fall months are busy ones, but this blog needs updating. Several things in the works but for today--please make sure you visit Michael Sporn, the better to enjoy his latest posts of artwork from "Toot, Whistle, Plunk and Boom". What's old is new again, always; these images are fantastic and inspiring.

Robert A. Winquist, "Bob" 1923-2008

Wearing a typically bemused expression. This is the only picture I have of Bob that I took myself, circa 1990. Proof he didn't always wear the shades!

I've just had the news that Bob Winquist, mentor to many, many artists and friend to all, a gentleman, teacher and brilliantly talented artist, has died.

I don't know why this is such a shock, given his age. Perhaps it's because if anyone could figure out the secret to immortality, it'd be Bob(or he'd know someone who could).

His niece and great-nephew sent this message to share wth you:

Dear Jenny;

By way of introduction, my name is Joyce Snyder, the niece of Robert A. Winquist, and it is with a heavy and saddened heart that I am writing to you. Our family wishes to inform you of the passing of Robert this afternoon, September 10, 2008. He passed away peacefully today as his body simply said, “Bob it is time to go home.”

Uncle Bob so often spoke of the multitudes of people that were part of his life, the fellow artists, imaginers, designers, students, etc. There were no classifications or hierarchies when it came to Bob’s acquaintances, just friends. From Chouinard’s to CalArts, Disney to Pixar; even a quick search on the Internet reveals the many artists that give claim to the influence that Bob had upon their artistic development.

Although Uncle Bob has left us this day, he will always be with us as his love of the arts, willingness, and dedication to teach, has embedded a piece of “Bob” into each and every one of his students. It is these same students who are now creating and passing along the ingenious insight and creativity that Uncle Bob so loved and dedicated his life to.

At this time the family wishes to thank you for being an important part of Robert’s life experience.


They're hoping to compile a list of those who should know, and obtain contact details for them, I'd imagine a memorial will be planned but have no idea what shape it would take. If anyone would like their information passed along to his family, please send if to me here: jlerew@earthlink.net.

And please, share any memories or thoughts on Bob here if you like. I know there are a lot of people who'd enjoy reading them.

Bob's influence was prodigious and spread ahead of him into the world, and his roots ran deep. It's impossible for me to do him justice on the fly having just heard this news.

He'll be so missed. How lucky we all were to have been able to know him a little, enjoy his company and glean his hard won and always joyfully shared wisdom.

Fare well, Bob.

Portrait by Tom McGrath

EDITED TO ADD: The Los Angeles Times ran an article on Bob in the paper on Wednesday, September 17th (it's also online).

Happy Labor Day! Disney Counter Service-menu #3

Here's the last-so far as I'm aware-of the circa 1940 Disney studio commissary menus.
Inside the contents are the same as the table menu(including the illustrations) so I won't scan the interior, but the back cover is special, featuring the offerings of the soda fountain:


Lime freeze for 15 cents, anyone?
I'd want these even if if they didn't have such wonderful illustrations on their covers, but luckily for us they do.

The other menus, for regular table service and a special one for breakfast, are in my earlier posts here and here.

Ollie Johnston: a Life Celebration

Mark Kirkland on the El Capitan stage, in front of one of his photographs of Ollie Johnston. Ollie's holding a portrait of Walt Disney. This is the best I could do from the balcony with an iPhone.

When a man passes from the scene who's been as historically and artistically significant and as personally loved as Ollie Johnston, he deserves a great tribute from the animation community.
That's exactly what the last of the nine old men got last night, in a nesting doll of an evening at the El Capitan in Hollywood. From the stroke of 7 till well after 10 Leonard Maltin(doing a splendid job) introduced and moderated for these colleagues, friends and family:

Roy Disney
Andy Gaskill
Andreas Deja
Charles Solomon
Glen Keane
John Musker
Ron Clements
Brad Bird
Howard Green
Bob Kredel (train enthusiast and friend)
Michael Broggie (Disney/train historian)
Mark Kirkland
John Lasseter
Ollie's sons Rick and Ken Johnston
Carolyn Johnston (Ollie's daughter-in-law)
Jeanette(Mrs. Frank)Thomas
Ted Thomas
Andy & Marshall Ayers (Frank’s son-in-law and grandson)

Leonard noted that in the audience were Kathryn Beaumont, Margaret Kerry, Dick Jones, June Foray and Virginia Davis. The names of those notable animation folk filling the rest of the theater are too numerous to list. The age range of the attendees was probably 5 to 95.

Ollie was discussed by those onstage as "the family man", "the railroader" and "the mentor"-a backdrop of portraits representing Ollie in those guises was projected on the screen. Clips of his animation were shown(including the seldom seen "Reason and Emotion" and a never seen pencil test of a very Fred Moore-like girl removing a brassiere-wow), but it was particularly lovely to see rare glimpses of Ollie's personal work: gesture drawings of his sons, paintings and drawings of his wife, the Johnston family Christmas cards--even early student work from Stanford(these last courtesy of Calarts alumnus and Simpsons director Mark Kirkland, whose presentation of his photographs of Ollie taken in later years was beautiful). I could have looked at the watercolors, pastels and paintings of Marie Johnston for hours...it's stunning to see such different material from an artist whose drawings you think you know well. I wish there was a book that could encompass that art.

All of the speakers were eloquent, funny, emotional and thoughtful by turns. Glen Keane, John Musker, Brad Bird, Ron Clements, Andreas Deja, Andy Gaskill...all of them became the young, neophyte animators of 30 years ago once again when remembering Ollie's work and mentorship. Ollie's sons Rick and Ken, Carolyn Johnston, Frank Thomas' son Ted and his mother Jeanette Thomas remembered their dad and friend as he was in his private life, full of enthusiasm and fun; outtakes from Ted Thomas of Frank and Ollie blowing take after take of discussing "Jungle Book" made obvious how much of a spur each was to the other as pals.

The penultimate speaker was John Lasseter, whose learning from Ollie began before they'd ever met(he spoke of memorizing the particular 16mm prints of the then-difficult to see Disney features in the Calarts library so completely that when he later saw copies without the same splices and pops, he'd be jarred by their absence) and eventually extended beyond animation into the heart of Ollie's great hobby, railroading.
John's story of rescuing and restoring the Marie E.--the little mine train that Ollie had owned and run for years at his property in Julian, California before having to sell it due to advancing age--was achingly bittersweet. Watching via video shot on the day a fragile Ollie, surrounded by family and friends being surprised with the sight of his beloved steam locomotive pulling up to the New Orleans Square depot in Disneyland fully restored...terribly poignant, and unforgettable.

Ollie Johnston lived an exceptionally long life-long enough, sadly, to see his best friend and his wife go before him into that good night--but also long enough that he was able to bask in the warmth and gratitude of his artistic heirs, many of whom became his friends. He saw the influence of his work in the achievements of dozens he personally guided and others who've acknowledged their debt to him and his colleagues. Everyone last night had stories and memories that overflowed with goodwill and thankfulness for the life of this quiet, unassuming and profoundly talented artist. It was a wonderful thing to be able to share in those memories and reflections, put together beautifully as was done last night. To those responsible-most especially the Johnston family-a heartfelt thanks.

Presenting Walt Disney Animation-on the web

"BOLT" artwork by director Byron Howard

Walt Disney Feature Animation has a new name(Walt Disney Animation), a new head(John Lasseter), a new logo(see below)--and a new official web presence that went live just a short time ago:

WALT DISNEY ANIMATION STUDIOS

No doubt it'll grow and change as new films are released. For now there's a released films timeline(with links to the colorful Archives entries on each title), a comprehensive FAQ for artists and interested parties, and other relevant information --not least a page devoted to this week's SIGGRAPH and Disney's various presentations there. There are many tantalizing projects in the works in the hat building at present, all detailed on the Projects pages. Be sure to check out the "Bolt" visdev that illustrates the "Careers" pages. One such example is above.

I'm looking forward to a solid online place for Disney animation past and especially present to be publicly celebrated.


A neon replica of The original Hyperion studio sign, executed by Kevin Kidney and Jody Daily. The original was adapted for the new animation studio logo.

Gouachey Disney Goodness from artist Kevin Kidney

original illustration courtesy of the Kevin Kidney blog; for Walt Disney magazine

Kevin Kidney has two abiding obsessions: Tiki art and Disney art. If you ever think either of those is overexposed and you've seen it all already--believe me, you haven't until you've been to his blog.
I mean, the man's a serious collector as well as talented veteran designer-his taste is exquisite. Go over to his place and see if you don't agree.

Just recently he's been posting beautiful, rarely-seen advertising and illustration art done by WDP artists.

Kevin's got the originals of these magazine illos--the better to appreciate their vibrant color and crisp design--and all doubtless whipped up on tight deadlines as if they were nothing.

Oswald the Lucky Rabbit casual Friday excuse for a post

Because girls read The Blackwing Diaries too, and because they're keen:


From Brazilian designer Melissa. They're a soft plastic that feels like suede, and they smell like candy. Really.

Coming in October

224 pages. Bill Peet. Joe Rinaldi. Don DaGradi. Roy Williams. Ub Iwerks. Burny Mattison. Vance Gerry. And probably some other people we know.

For the record: Disney Imagineer Harriet Burns dies

She was the first woman artist hired to work at Imagineering in 1955(the full obit can be read by clicking the title link-highly recommended). The photographs here are from the obituary; I thought readers would enjoy seeing them.
At her passing on July 25th Ms. Burns was a few weeks shy of her 80th birthday.