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Early development art by Ralph Hulett for Disney’s THE ARISTOCATS. Circa 1969.

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-SPIDEY- color ver.

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Here’s a preview of my #mermay piece for @gallerynucleus show will go live on May 16th midnight! #celinekim

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Visual development for Tarzan by Paul Felix 

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Music from the Swing Era: album covers by David Stone Martin (1913-1992).

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The online sales of the book “UKIYO” has started with Spoon & Tamago. Available worldwide.

Also includes all the out of print [100 views of Tokyo]. It also summarizes the process of making ukiyo-e prints.

Thank you!

[Introduction Article] http://www.spoon-tamago.com/…/…/03/ukiyo-shinji-tsuchimochi/

[Online Shop ] https://shop.spoon-tamago.com/…/shinji-tsuchimochis-art-boo…

スプーン＆タマゴさんで最新画集「浮き世」のオンライン販売が始まりました。世界各国で購入できます。絶版となった「東京下町百景」も収録し、そこから浮世絵新版画を制作するまでの道のりをまとめてます。 どうぞよろしくお願いします！

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Animation Effects: How They Created the Snowflakes in Fantasia

Herman Schultheis was an effects animator who worked on Fantasia. He kept a tight record of the effects they were creating from 1938-1941, and a photo display of how they were done.

Schultheis disappeared in 1954 while trekking through Central America, and the notebook was forgotten until his wife’s death in the early 1990s, after which it was discovered behind the couple’s bedroom wall. In 2014, Disney released this hallowed tome, this book of magic spells for aspiring animators as The Lost Notebook: Herman Schultheis & the Secrets of Walt Disney’s Movie Magic. It is AWESOME.

Shown above are a few of the steps Disney’s animation effects artists used to create those hypnotic spinning snowflakes.

Pics 1 + 2: The Ink and Paint Department traced scientific diagrams of real snowflakes onto a material slightly heavier that regular animation cels, then used a translucent white paint to fill them in.

Pic 3: The snowflakes were then cut out and attached to spinning gears.

Pic 4: The gears were affixed to wire ‘guide tracks’ (almost like toy train tracks) that mapped the snowflakes’ path of action.

Pic 5: Sheets of black velvet were used to hide the tracks from the animation camera.

Pic 6: The snowflakes were then filmed one frame at a time – stop-motion style – as they spun on their gears, ‘descending’ down the wire guide tracks.

Pics 7-9: The film footage of the snowflakes was then ‘burned’ over the multiplane background, where it was matched with the 2D animated fairies.

Voilà – movie magic!

Special thanks to MichaelSpornAnimation.com and D23.com for some of the pics and text.

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NeZha | “You are my only friend.”

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NeZha (2019)

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Scenic concept paintings by Paul Lasaine for the LORD OF THE RINGS trilogy.

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The Lion King ₍₂₀₁₉₎ visual development by Vance Kovacs 

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Rosenborg Castle, Copenhagen

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Strasbourg | France (by Federica Gentile)

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Ensembles from the It’s Only a Game Collection

Alexander McQueen

Spring/Summer 2005

McQueen designed the 2005 collection It’s Only a Game around the idea of a chess match between America and Japan. Each ensemble corresponded to a particular chess piece.

The queen wears a short, thigh-high dress, which is wide at the hips, a silhouette based on the eighteenth century. A kimono collar, obi sash, and an undershirt beautifully embroidered to look like tattooing are all drawn from Japanese culture. Next to her, the king appears as an American football player, with shoulder pads and a helmet covered in Japanese tattooing.

     -Andrew Bolton

The MET

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yeehaw

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Concept art for Disney’s Jungle Cruise attraction by Harper Goff and Marc Davis.