DISNEY ANIMATION PROJECT Anyone may be able to help

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DISNEY ANIMATION PROJECT Anyone may be able to help

Post by Disney Duster »

UPDATE WHAT I NEED: I need anyone to tell me how I can make my own movie clips, so that means ripping video and music. And can I do that with...um...rented DVDs? Or Youtube? Or things I borrow from people? Because we are supposed to use visual aids.

Also, there's something I want to do. I know how to remove characters from backgrounds in like...paint, and I have an animation program (makes GIFs and stuff), but I was wondering if I can do this with a clip, so that the background would move but...I can remove characters? I've seen someone add a character to a background in a Youtube video before...guess I should ask them...



Absolutely anything, any help at all, is appreciated.

I'm doing an informative speech on Disney Animation.

Of course I already know some things, that's why I'm doing it, but there's some particular things I could get help on and all I need are whatever suggestions and info you have.

Does anyone know where there are images of drawings that very well show the 3-dimensionality of Disney's hand-drawn animation?

What DVD's or books or sites would you recomend for information regarding the art and animation on all these eras? Some of the DVDs are out of print, and the new DVDs may not tell me all I need to know, so in those cases, I could really use info I can't get on the new DVDs.

And does anyone know the box office and critical receptions of these films?

The first era:
I consider this era to be Snow White to The Jungle Book. What do you consider the first era? From what to what?

I know Gustaf Tenggren greatly influenced the first two features. What other artists, European or other, influenced the rest of the features? Any particular pieces of art?

I'm really fuzzy on art influence for Fantasia, Dumbo, and Bambi.

I know Mary Blair greatly influenced the 50's films, but does anyone know of specific artists and art that influenced each individual picture? I know Alice in Wonderland was going to have a Tenniel like look, that was by whom?

The second era:
I consider this The AristoCats to Home on the Range. What do you consider the second era?

What about the art and artists who greatly influenced the "dark age" pictures from AristoCats to Oliver & Company? And what about the fab 4 all the way to The Lion King? And, well, the rest all the way to Home on the Range?

The third era:
I consider this Chicken Little to Tangled. What do you consider the third era?

Anyone know any artists and art influence for...any of these films?
Last edited by Disney Duster on Sun Oct 17, 2010 12:46 am, edited 1 time in total.
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Post by Elladorine »

In my opinion, The Illusion of Life is absolutely the best book on Disney animation, hands down. It's a bit on the expensive side but you may be able to find it at a library. I also recommend the documentary Frank & Ollie if you haven't already seen it yet. :)

Image Off the top of my head, Ty Wong's watercolor art was a huge influence on the look of Bambi.
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Post by Escapay »

ETA: I spent an hour writing this and looking through my DVDs and computer lists, only to have the damn internet log me off UD for inactivity, so what's written is actually a condensation of what I originally wrote (regarding the DVD section). I simply re-copied Lars' list and bolded again, and made brief blurbs for the other stuff.
Disney Duster wrote:Does anyone know where there are images of drawings that very well show the 3-dimensionality of Disney's hand-drawn animation?

What DVD's or books or sites would you recomend for information regarding the art and animation on all these eras?
Disney Animation: The Illusion of Life (1981) and its revised edition The Illusion of Life: Disney Animation (1995) are basically the two "bibles" of Disney Animation. And rightly so, as they were written by Frank & Ollie. I've only perused through the '95 edition at my library, never came across the '81 edition. But they're essential.

UD member Lars Vermundsberget (who hasn't posted in years, unfortunately) has often listed his extensive collection of Disney books. Not all of them pertain directly to animation, but it's still a good list for various references. I've bolded the ones with animation in the title or ones I assume would be about animation specifically.
  • Allan, Robin. Walt Disney and Europe. Bloomington and Indianapolis: Indiana University Press, 1999.

    Bell, Elizabeth, Lynda Haas and Laura Sells (editors). From Mouse to Mermaid: the Politics of Film, Gender and Culture. Bloomington and Indianapolis: Indiana University Press, 1995.

    Canemaker, John. Before the animation begins. New York: Hyperion, 1996.

    Canemaker, John. Paper Dreams: The Art and Artists of Disney Storyboards. New York: Hyperion, 1999.

    Canemaker, John. Treasures of Disney Animation Art. New York: Abbeville, 1982.

    Canemaker, John. Walt Disney’s Nine Old Men and the Art of Animation. New York: Disney Editions, 2001.


    Cotter, Bill. The Wonderful World of Disney Television. New York: Hyperion, 1997.

    Culhane, John. Fantasia 2000: Vision of Hope. New York: Disney Editions, 1999.

    Culhane, John. Walt Disney’s Fantasia. Reprint. Originally published: New York: Abrams, 1983.


    Eisner, Michael D. (foreword). Walt Disney Imagineering. New York: Hyperion, 1996.

    Eliot, Marc. Walt Disney: Hollywood’s Dark Prince. New York: Birch Lane Press, 1993.

    Fanning, Jim (text). The Disney Poster: From Mickey Mouse to Aladdin. New York: Hyperion, 1993.

    Feild, Robert D. The Art of Walt Disney. New York: Macmillan, 1942.


    Ferraiuolo, Perucci. Disney and the Bible. Camp Hill, PA: Horizon Books, 1996.

    Finch, Christopher. The Art of The Lion King. New York: Hyperion, 1994.

    Finch, Christopher. The Art of Walt Disney. New York: Abrams, 1973.

    Finch, Christopher. The Art of Walt Disney. Updated edition. New York: Abrams, 1995.


    Fjellman, Stephen M. Vinyl Leaves: Walt Disney World and America. Boulder, San Francisco and Oxford: Westview, 1992.

    Giroux, Henry A. The mouse that roared: Disney and the end of innocence. Lanham, Boulder, New York and Oxford: Rowman & Littlefield, 1999.

    Grant, John. Encyclopedia of Walt Disney’s Animated Characters. New York: Hyperion, 1993.

    Green, Howard E. The Tarzan Chronicles. New York: Hyperion, 1999.

    Hiaasen, Carl. Team Rodent: How Disney Devours the World. New York: Ballantine, 1998.

    Holliss, Richard and Brian Sibley. The Disney Studio Story. London: Octopus, 1988.

    Hurter, Albert. He Drew As He Pleased. Intr. Ted Sears. New York: Simon and Schuster, 1948.

    Iwerks, Leslie and John Kenworthy. The Hand behind The Mouse. New York: Disney Editions, 2001.

    Johnston, Ollie and Frank Thomas. The Disney Villain. New York: Hyperion, 1993.


    Koenig, David. More Mouse Tales: A closer peek backstage at Disneyland. Irvine, CA: Bonaventure, 1999.

    Koenig, David. Mouse Tales: A behind-the-ears look at Disneyland. Irvine, CA: Bonaventure, 1994, 1995.

    Koenig, David. Mouse Under Glass: Secrets of Disney Animation and Theme Parks. Irvine, CA: Bonaventure, 1997.

    Krause, Martin and Linda Witkowski. Walt Disney’s Snow White and the Seven Dwarfs: An Art in Its Making. New York: Hyperion, 1994.

    Kurtti, Jeff. The Art of Mulan. New York: Hyperion, 1998.


    Kurtti, Jeff. Since The World Began: Walt Disney World – The First 25 Years. New York: Hyperion, 1996.

    Lambert, Pierre. Mickey Mouse. New York: Hyperion, 1998.

    Lambert, Pierre. Pinocchio. New York: Hyperion, 1997.


    Maltin, Leonard (forord). Disneys samlede filmplakater. Oslo: Damm, 2003.

    Maltin, Leonard. The Disney Films. 3rd edition. New York: Hyperion, 1995.

    Marling, Karal Ann (editor). Designing Disney’s Theme Parks: The Architecture of Reassurance. Paris and New York: Flammarion, 1997.

    Merritt, Russell and J. B. Kaufman. Walt in Wonderland. Gemona (Italy): Le Giornate del Cinema Muto / La Cineteca del Friuli, 1993.

    Mosley, Leonard. Disney’s World. Lanham, MD: Scarborough House, 1990.

    Rebello, Stephen. The Art of Pocahontas. New York: Hyperion, 1995.

    Rebello, Stephen. The Art of The Hunchback of Notre Dame. New York: Hyperion, 1996.

    Rebello, Stephen and Jane Healey. The Art of Hercules: The Chaos of Creation. New York: Hyperion, 1997.


    Schickel, Richard. The Disney Version. 3rd edition. Chicago: Elephant Paperback / Ivan R. Dee, 1997.

    Schweizer, Peter and Rochelle Schweizer. Disney: The Mouse Betrayed. Washington, D. C.: Regnery Publishing, 1998.

    Sherman, Robert B. and Richard M. Sherman. Walt’s Time: from before to beyond. Santa Clarita, CA: Camphor Tree Publishers, 1998.

    Smith, Dave. Disney A to Z: The Official Encyclopedia. New York: Hyperion, 1996.

    Solomon, Charles. The Disney That Never Was. New York: Hyperion, 1995.

    Taylor, Deems. Walt Disney’s Fantasia. New York: Simon and Schuster, 1940.

    Thomas, Bob. The Art of Animation. New York: Simon and Schuster, 1958.


    Thomas, Bob. Building a company: Roy O. Disney and the creation of an entertainment empire. New York: Hyperion, 1998.

    Thomas, Bob. Disney’s Art of Animation from Mickey Mouse to Hercules. New York: Hyperion, 1997.

    Thomas, Bob. Walt Disney: An American Original. New York: Hyperion, 1994.

    Thomas, Frank and Ollie Johnston. Disney Animation: The Illusion of Life. New York: Abbeville, 1981.

    Thomas, Frank and Ollie Johnston. Too Funny for Words. New York: Abbeville, 1987.

    Thomas, Frank and Ollie Johnston. Walt Disney’s Bambi. New York: Stewart, Tabori and Chang, 1990.


    Watts, Steven. The Magic Kingdom: Walt Disney and the American way of life. Boston and New York: Houghton Mifflin, 1997.
Regarding DVDs & Blu-Rays, most any Disney DVD of something animated is a study itself in animation, but for animation-specific features, there are several good ones from the Walt Disney Treasures.

"The Adventures of Oswald the Lucky Rabbit" features commentary for six of the surviving shorts, as well as the feature-length Ub Iwerks biodoc "The Hand Behind the Mouse".

EVERYTHING in "Behind the Scenes at the Walt Disney Studio" will help, notably "The Plausible Impossible" and "The Tricks of Our Trade".

"Mickey Mouse in Black and White" features a fairly-packed interview with Frank & Ollie about Mickey. There's also various story sketches for plenty of the shorts on the set.

"The Complete Pluto, Volume Two" has two excellent "Master Class" featurettes in which animators Randy Cartwright and Andreas Deja each examine a particular short ("Bone Trouble" for Cartwright and "Hawaiian Holiday" for Deja).

"More Silly Symphonies" includes a lot of commentaries, some about animation, some about music, some about the talent behind them, etc. There's also a featurette that covers the entire Silly Symphonies.

"Chronological Donald, Volume Two" has a featurette about Carl Barks, who was an animator for Donald as well as doing the Donald Duck comic strips.

"On the Front Lines" doesn't have any featurettes about animation, but it does provide some of the government animation that the studio did ("Four Methods of Flush Riveting", "Stop That Tank", and a training film montage).

And of course, there are the making-of documentaries for the DACs, as well as notable animation featurettes...

Snow White and the Seven Dwarfs Platinum Edition includes storyboard-to-film comparisons, deleted animation, camera tests, docent audio on galleries, and two promotional features that were made in the late 30s (which are also on the Behind the Scenes Treasures set).

Snow White and the Seven Dwarfs Diamond Edition includes various featurettes in the Hyperion Studios feature. They include, but are not limited to: "In Walt's Words: The Huntsman", "Creating the World of Snow White", "In Walt's Words: Cleaning the Cottage", "Bringing Snow White to Life", "Drawing on Real Life", "Sweating It Out", "In Walt's Words: The Dwarfs", "Setting the Stage", "The Challenges of Ink and Paint", and "Decoding the Exposure Sheet"

Pinocchio Platinum Edition includes the featurette about the Sweatbox.
And does anyone know the box office and critical receptions of these films?

The Fantasia Anthology is a compendium of animation material. Story reels, deleted animation, vast galleries, intros for each segment, etc.

Bambi Platinum Edition features "Inside Walt's Story Meetings" which needs no explanation.

Saludos, Amigos (in either the Gold Collection or Classic Caballeros Collection) includes "South of the Border with Disney", which among other things features pencil animation for a Donald Duck short that was never completed: "Caxanga".

Cinderella Platinum Edition has...well, I'm sure you already know.

Alice in Wonderland Masterpiece & Un-Anniversary Editions includes "Operation: Wonderland" which isn't so much about animation but about making the entire film.

Lady and the Tramp Platinum Edition includes two featurettes about storyboards, as well as one about voice acting for the Siamese cats.

Sleeping Beauty Special Edition has brief pieces about the backgrounds and design, as well as storyboard sequences and docent audio on the galleries.

101 Dalmatians Platinum Edition includes a featurette about Cruella de Vil and her animator Marc Davis.

The Jungle Book Platinum Edition has a vintage interview with Frank & Ollie as they discuss animation.

The Aristocats Special Edition has a deleted song that includes storyboards and pencil animation.

The Fox and the Hound 25th Anniversary Edition includes a short feature about how the old-timers were "passing the baton" to the young blood with this film, as it was the final animated film to have work done by any of the Nine Old Men.

The Black Cauldron 25th Anniversary Edition includes a lengthy deleted scene (but not the gory one everyone wants to see) providing an alternate look at how Taran and company meet the fair folk. It's a lot of pencil animation and storyboards.

The Little Mermaid Platinum Edition includes a featurette about the visual effects animation team.

Beauty and the Beast Platinum Edition has the Transformation Scene in its original pencil animation, various animation tests, the camera move test, the Work in Progress version, etc.

Beauty and the Beast Diamond Edition includes all that, as well as a featurette about the history of animation, and mini-featurettes discussing the look of various characters, along with a featurette about the CAPS system.

Aladdin Platinum Edition includes "Rough Stuff" featurettes, design featurettes for the characters, and a tribute to Al Hirschfeld, whose style inspired the design of the film.

The Lion King Platinum Edition has stuff, I'm sure. I haven't watched it in years and don't remember much.

Pocahontas 10th Anniversary Edition includes a storyboard-to-film comparison, a multi-angle scene progression, animation tests, and solo interviews with the supervising animators for various characters.

Mulan Special Edition has storyboard-to-film comparisons, progression demonstrations, and brief featurettes about animation.

Tarzan Collector's Edition features storyboard-to-film comparisons, "animating..." featurettes about certain characters, a production progression, and a deep canvas featurette.

Dinosaur Collector's Edition has early animation tests, progression reels, 3D work book-to-film comparisons, and designing featurettes.

The Emperor's New Groove Collector's Edition has an "Animation Groove" documentary that is generally a very long way of doing a progression reel (storyboards, rough animation, layout and background, clean-up animation, final animation) along with various other featurettes.

Atlantis: The Lost Empire Collector's Edition beats most any other DAC in terms of quantity of features, and rivals The Fantasia Anthology in terms of quality. Perhaps the *best* two-disc DVD Disney has ever released.

Lilo & Stitch Big Wave Edition has a lengthy two-hour documentary that is more honest, candid, and thorough than most any of the Platinum docs, various featurettes ("footnotes") that include things like Andreas Deja's Sketches of Lilo, an interview with Joe Grant, alternate animated scenes (e.g. a 747 becomes Jumba's ship), etc.

Treasure Planet has an engaging visual commentary that is mostly animation-specific, especially the featurettes (The Brandywine School, the Hook Test, the 70/30 Law, etc.).

After that, most every other DAC has a formulaic set of supplements, without really touching on animation specifically, but filmmaking as a whole.

And that's just the DACs. I haven't even mentioned things like the Frank & Ollie documentary and its supplements ("Evolution of a Sequence: The Pirate Cave" for example), or even some animated featurettes from the hybrid films. "Deconstruction of a Scene" & "Movie Magic" are on Mary Poppins, 20,000 Leagues Under the Sea includes deleted animation, Bedknobs and Broomsticks has a gallery including stills from the animated portion of the film, Pete's Dragon has a lengthy featurette about how Disney's married live-action to animation for years, and how it evolved, half the supplements for TRON is about computer animation, Pirates of the Caribbean has a "Moonlight Serenade" progression showing how CGI was used, etc.

In addition, there is also the Pixar DVDs, which are like CGI animation bibles. Or at the least, a CliffsNotes version of the CGI animation bible. The Incredibles especially, it's got quite a thorough selection of features.
Disney Duster wrote:I know Gustaf Tenggren greatly influenced the first two features. What other artists, European or other, influenced the rest of the features?
Off the top of my head, Albert Hurter and Kay Nielsen. And Tyrus Wong was influential in Bambi.
Disney Duster wrote:I know Mary Blair greatly influenced the 50's films, but does anyone know of specific artists and art that influenced each individual picture?
There's a David Hall gallery for Peter Pan, showing his concepts for the film versus Mary Blair's.

Eyvind Earle once rattled off a list of names in the commentary for Sleeping Beauty: pre-Renaissance, Gothic, and Persian, and Japanese, Medieval, Van Dyck, Brueghel, Aldrich (David Aldrich?).
Disney Duster wrote:What about the art and artists who greatly influenced the "dark age" pictures from AristoCats to Oliver & Company? And what about the fab 4 all the way to The Lion King? And, well, the rest all the way to Home on the Range?
Aladdin is greatly influenced by Hirschfeld, namely in the curvature of all the lines. That's all I know off the top of my head. Plus, Eric Goldberg likes mentioning it as often as he can in whatever supplement he's in regarding his inspiration, so it's ingrained in my memory no matter what I do.

albert
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Re: DISNEY ANIMATION PROJECT Anyone may be able to help

Post by Wonderlicious »

Disney Duster wrote:Absolutely anything, any help at all, is appreciated.

I'm doing an informative speech on Disney Animation.

Of course I already know some things, that's why I'm doing it, but there's some particular things I could get help on and all I need are whatever suggestions and info you have.

Does anyone know where there are images of drawings that very well show the 3-dimensionality of Disney's hand-drawn animation?

What DVD's or books or sites would you recomend for information regarding the art and animation on all these eras? Some of the DVDs are out of print, and the new DVDs may not tell me all I need to know, so in those cases, I could really use info I can't get on the new DVDs.
The Art of Animation by Bob Thomas
Once Upon a Time...Walt Disney by Bruno Girveau, Lella Smith and Pierre Lambert
The Disney Films by Leonard Maltin
Paper Dreams by John Canemaker
The Art and Falir of Mary Blair by John Canemaker

For more recent films, you may want to source out some of the "Art of" books. And also try and rent some of the "Collector's Editions" that Disney put out in the early 2000s; Tarzan, The Emperor's New Groove and Atlantis got them, and the two-disc copy of Lilo and Sitch is a delayed collector's edition. They are really comprehensive. Also take a gander at the Walt Disney Treasures, if you can (see if you can rent any of them). Mickey Mouse in Living Color (Vol 1) features three shorts in pencil animation. Also try and rent the Fantasia Anthology. Or the Mulan two-disc edition. Oh heck, anything. :p
Disney Duster wrote:The first era:
I consider this era to be Snow White to The Jungle Book. What do you consider the first era? From what to what?
These are what I consider to be the Disney eras.

1st era: 1937-42 (Golden Age/Pre-war period):
Feature animation is new. Snow White is a huge success, ushering in a huge period of development and growth at the studio, and a series of features even more ambitious and lavish than Snow White; Pinocchio, another fantasy/fairy tale, but more epic in scope and more complex; Fantasia, a different type of cinematic experience (at least with Walt's original intention as a programme of shorts changing every year or so), featuring animated tone poems and experimental animation; Bambi, an overall more naturalistic piece and an attempt at creating more believable animals. However, the studio gets into a spot of bother over a new studio, war breaking out in Europe and workers' issues. A strike breaks out, then the USA gets involved in World War II. Bambi is released in 1942, an adieu to the era.

2nd era: 1942-9 (Wartime/Immediate Post-war period):
Disney studio is ordered to create training films and propaganda shorts. As a result of the Good Neighbour policy, Disney churns out two package features, anthologies of shorts loosely linked together: Saludos Amigos and The Three Caballeros. With the war over, the studio is a financial wreck, and resorts to continuing to release lower budget package features to turn a quick profit for more ambitious films; several ideas for features are cut down to shorter length to slot into package films (Wind in the Willows into The Adventures of Ichabod and Mr Toad, Bongo and Mickey and the Beanstalk into Fun and Fancy Free etc). Walt starts to seriously experiment with live-action, as evident with the part-animated Song of the South and So Dear to My Heart, and Seal Island, the first True Life Adventure film. Eventually, Walt bites the bullet and launches into the production of Cinderella and Alice in Wonderland, two fully animated features that had been years in development.

3rd era: 1950-1967 (Second Golden Age/postwar period):
Cinderella comes out, becoming a huge hit and putting the Disney company into a safer state. A series of animated films follows, yet animation is no longer the only priority of the studio, and in some ways, goes into a decline. The past dream of releasing an animated feature every year goes right out the window, and the shorts programme is scrapped. In animation, Walt has less input into what is being made, especially after Sleeping Beauty took so long to make, and the process witnesses the introduction of various shortcuts (such as Xerox, which won praise from animators as it caught the energy of their original sketches). 1950 also sees the release of Treasure Island, all live-action. More documentaries and live-action features follow, Disney gets into TV (producing the Mickey Mouse Club, Zorro and an important anthology series) and Disneyland opens. Walt releases Mary Poppins, has an even bigger theme park project in development, and starts to get back into animation a bit more with The Jungle Book, when he dies.

4th era: 1967-85 (Post-Walt dark age):
Everything starts fine without Walt; the company seems unsure but experiences success nonetheless at the beginning. Yet some time into the 70s, the cracks appear. The animated films seem like a retread of The Jungle Book in some form or another, and more original features, like The Rescuers and The Fox and the Hound, play it safe to the point where they seem pathologically mediocre. The company on the whole tries to break out of the formula shell with darker films, but doesn't do so well. Eventually, a new regime comes in to revitalise the company.

5th era: 1986-99(Eisner era):
A renaissance in animation occurs, with films such as Who Framed Roger Rabbit, Beauty and the Beast and The Lion King. The animated musical becomes standard, and Disney releases a new animated film every year. Disney also coproduces and distributes independent productions with other mediums of animation, such as The Nightmare Before Christmas and Toy Story. An animation studio opens at Walt Disney World, and another in Paris. Disney gets into the TV animation business seriously as well, and feature animation starts to employ the computer.

6th era: 2000 onwards (The New Millennium):
Disney faces an identity crisis. They produce a series of diversifying features, which don't catch on that much, and a series of executive meddlings and conflicts causes problems. Things move even further into the digital age, with CG becoming the norm, and digital concept art being produced.

[quote="Disney Duster"I know Gustaf Tenggren greatly influenced the first two features. What other artists, European or other, influenced the rest of the features? Any particular pieces of art?

I'm really fuzzy on art influence for Fantasia, Dumbo, and Bambi.[/quote]

I believe that the fragmented nature of Fantasia allowed it to be split between several artists so each segment has a different artistic influence. Kay Nielsen was the primary designer of the "Night on Bald Mountain/Ave Maria" segment.

Walt also bought a lot of European illustrated when he was visiting Europe in the mid-50s, including those by Arthur Rackham. In addition, many of the early features were inspired by (then) contemporary Hollywood and German expressionism. A scene in F.W. Murnau's Faust (where the devil appears in the sky above a town) inspired "Night on Bald Mountain".
Disney Duster wrote:I know Mary Blair greatly influenced the 50's films, but does anyone know of specific artists and art that influenced each individual picture? I know Alice in Wonderland was going to have a Tenniel like look, that was by whom?
The history of Alice in Wonderland at the Disney studios is pretty long, complicated and messy. The pre-war version (aka the version in development in the late 30s/early 40s, shelved along with several others for some time until the war ended) had many designs and concept pieces done primarily by David Hall. Hall was told to stay faithful to Tenniel, though he gives Wonderland a more cinematic feeling overall than Tenniel's woodcuts could. This is a good introduction to Hall's work, and shows an ending (warning, it's pretty grizzly in places :p). Obviously, when Alice was brought back out of the morgue, Mary Blair became the primary influence, and Hall's work was largely ignored (on a side note, Hall also did some design work for an earlier version of Peter Pan, and I've heard he did a tiny bit of work for Bambi).

Another useful article:
http://www.mouseplanet.com/9308/The_Dis ... ever_Were_
Disney Duster wrote:What about the art and artists who greatly influenced the "dark age" pictures from AristoCats to Oliver & Company? And what about the fab 4 all the way to The Lion King? And, well, the rest all the way to Home on the Range?
Ken Anderson had a huge influence on The Aristocats and Robin Hood, and was also key in designing Eliot in Pete's Dragon. The later films (post-Black Cauldron) tend to vary.

BTW, what are you doing this presentation for? I'm just asking out of pure curiosity. :)
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Post by Heil Donald Duck »

enigmawing wrote:In my opinion, The Illusion of Life is absolutely the best book on Disney animation, hands down. It's a bit on the expensive side but you may be able to find it at a library. I also recommend the documentary Frank & Ollie if you haven't already seen it yet. :)

Image Off the top of my head, Ty Wong's watercolor art was a huge influence on the look of Bambi.
Only critisims Illusion of life there is little or no mentioned of Goofy and little or no mentioned of Alice in Wonderland (think.
Der Fuehrer's Face is the greatest Donald Duck cartoon ever made.
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DISNEY ANIMATION PROJECT Anyone may be able to help

Post by Disney Duster »

Well, thank you very much everyone.

The slow guy I am I haven't done much more than try to organize and decide what I will do. But this helped heaps. I think I will go to the library and video store a lot. Special thanks to Scaps because he is one of my closer internet friends and he spent an hour trying to do this for me and he lost it. Aw, but it turned out alright, thanks buddy! hugs!

Wondy, thank you, but um...what's with the "Walt bites the bullet" to make Cinderella and the rest? Are you saying he didn't want to do anymore animated films? If that is true, I find Walt to be like a kid with ADHD, moving from one thing to the next. His artists probably felt more than a little abandoned. Yet he turned out to love Cinderella, and at least be very excited about Sleeping Beauty. And I don't see why he would desire to make them back in the 4o's and then not want them made, unless him losing interest was that sudden. Actually, now that I think about it, his use of live-action reference may have stemmed from his new desire for live-action.

Anysyways...I liked how you said it seems quite a few films after The Jungle Book seemed like retreads of The Jungle Book! I felt that, too...

Oh, and Disney's final Alice in Wonderland...much better, and more Disney, than that David Hall version...

This is for my Public Speaking class and is my informative speech.

NOW WHAT I NEED: I need anyone to tell me how I can make my own movie clips, so that means ripping video and music. And can I do that with...um...rented DVDs? Or Youtube? Or things I borrow from people? Because we are supposed to use visual aids.

Also, there's something I want to do. I know how to remove characters from backgrounds in like...paint, and I have an animation program (makes GIFs and stuff), but I was wondering if I can do this with a clip, so that the background would move but...I can remove characters? I've seen someone add a character to a background in a Youtube video before...guess I should ask them...
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Post by stitchje1981 »

WOOOOW Escapay!!!!! :jawdrop:
You took your time for it, but AWESOME JOB! :thumb:
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Disney Eras...

Post by Jackoleen »

Dear Disney Duster,

I hope that your presentation turns out to be super!

I have one question, though: Are you trying to represent broad Disney eras, or specific Disney eras?

If I were going to talk about the specific Disney eras, I'd represent them like so (PLEASE NOTE THAT MY DESCRIPTIONS ARE ONLY SAMPLE DESCRIPTIONS...You may use the descriptions, but you don't have to, as I am certain that you must have the writing ability that goes along with writing a speech...):

WALT DISNEY'S GOLDEN ERA (1937 through 1967): Disney's dream proved everybody else wrong when he released "Snow White", and even after Walt died, "The Jungle Book" entranced his faithful audiences.

THE ERA OF TRIALS (1968 through 1988): When Walt died, everybody else who was at the studio wondered what to do, and as the older Disney imagineers became older, a new breed of Disney creationists had to take over. Like any new employees, they made mistakes...and more mistakes, striking out with such unfortunate tries as 1973's "Robin Hood" and 1985's "The Black Cauldron"; these movies, and more, failed because the newer audiences were more cynical, street-wise, and daringly driven (The kids wanted to hear edgier dialog, and watch daring action scenes, instead of being treated to the same type of frothy Disney fantasy that their parents had loved...)

THE NEW GOLDEN ERA AT DISNEY (1989 through 1994): This new Disney era was fairly short-lived, but it saw the birth of several successful animated musicals that all kinds of people LOVED with a passion. Old World charm blended with exciting new characters (and all-star Broadway-inspired casts) to create the blockbusters that WERE (and still ARE) "Beauty and The Beast", "Aladdin", and "The Lion King"!

THE PIXAR ERA (1995 through 2009): The 1995 Pixar movie "Toy Story" kicked off an era during which Disney's Pixar movies were much more successful than their traditionally animated musicals. The Toy Story franchise made a ton of money, and even some of the Pixar movies that some people may have questioned (I myself didn't think much of "A Bug's Life") were successful. Meanwhile, "Pocahontas" made some Native Americans angry, "The Hunchback of Notre Dame" seemed to make EVERYBODY angry (Darn that seductive Esmeralda, AND DOUBLE DARN that "Hellfire" song! LOL!), "Hercules" registered as a blip on the radar, "Mulan" made some Asian-Americans angry, and "Tarzan" succeeded only marginally. Later, "The Emperor's New Groove", "Atlantis", "Treasure Planet", and several others came and went...

DISNEY REBORN? (2010 through?) "The Princess and The Frog" SHOULD have begun a brand new era of successful Disney magic, but something went terribly wrong, and "The Princess and The Frog" got a "croak" from many people, including angry African American AND Caucasian moviegoers. Now, The Disney Company brings us a physically fit, long-haired heroine, a fast-talking, dashing hero (Who, by the way, sounds to be almost too modern, with regards to his speech), a few sidekicks, a dramatic villainess, etc., in the hopes that a new Disney musical will bring the company success...years after Snow White brought Walt's dream to the world.

Thank you in advance for your replies.
8)
Farewell For Now,
Jackoleen

-------------------------------

I wish to be seduced in a royal Asian locale!
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stitchje1981
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Re: Disney Eras...

Post by stitchje1981 »

WALT DISNEY'S GOLDEN ERA (1937 through 1967): Disney's dream proved everybody else wrong when he released "Snow White", and even after Walt died, "The Jungle Book" entranced his faithful audiences.
From what I thought the Golden area would be from the 40' s 'till the '60's with Sleeping Beauty and Cinderella. Snow White wasn't counted within the Golden Area
THE PIXAR ERA (1995 through 2009): The 1995 Pixar movie "Toy Story" kicked off an era during which Disney's Pixar movies were much more successful than their traditionally animated musicals. The Toy Story franchise made a ton of money, and even some of the Pixar movies that some people may have questioned (I myself didn't think much of "A Bug's Life") were successful. Meanwhile, "Pocahontas" made some Native Americans angry, "The Hunchback of Notre Dame" seemed to make EVERYBODY angry (Darn that seductive Esmeralda, AND DOUBLE DARN that "Hellfire" song! LOL!), "Hercules" registered as a blip on the radar, "Mulan" made some Asian-Americans angry, and "Tarzan" succeeded only marginally. Later, "The Emperor's New Groove", "Atlantis", "Treasure Planet", and several others came and went...
THOND is mostly a religion film, and you can have your own opinion on religion but don't bring it out in public. ( same with politics) no matter what you say it's NEVER right and you get sued for it in the worst way!
Sure it's a free country and you have the right on a free will, bu keep it to yourself!!!

I wouldn't call it a PIXAR area with Chicken Little, G - Force, The Wild those are not PIXAR movies and then you've got the animates ones untill Home On The Range, sure the are helped with computers but had nothing to do with PIXAR
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Re: DISNEY ANIMATION PROJECT Anyone may be able to help

Post by Wonderlicious »

Disney Duster wrote:Wondy, thank you, but um...what's with the "Walt bites the bullet" to make Cinderella and the rest? Are you saying he didn't want to do anymore animated films?
lol, let me explain myself. When I said that he "bit the bullet", I meant that he decided to get out of the vicious circle of making nothing but package features, which while economical, were inconsistent and somewhat throwaway. With Cinderella, he still wasn't in the best financial state, thus it was a bit of a gamble. I wasn't trying to say that he'd lost complete interest in animation, it's just that he'd started to look at other things like theme parks, live-action and television, and if anything, became too busy to get actively involved with animation as he had done in the early 40s. And the abandonment of shorts was happening through all studios in the 50s. In addition to the impact of television, the US government had ruled that studios couldn't own cinema chains, which meant that there were less set programmes, and studios had to sell their ware to cinemas themselves. As set programmes fell more and more out of fashion, it became easier for studios simply to re-release cartoons for 90% of the intake of a new one (as MGM did), and it can be witnessed that Disney did similar things (they released fewer new cartoons even when they had a constant programme, and segments from the package films were released as separate shorts).
Disney Duster wrote:Oh, and Disney's final Alice in Wonderland...much better, and more Disney, than that David Hall version...
I have to say that I like a lot of the drawings I've seen by David Hall for Alice in Wonderland and Peter Pan but can't really see them working that well in animation (or at least to Mary Blair's final designs for said films). Hall had been a live-action production designer, and I don't think he completely got design for animation in the same way that other designers from a variety of backgrounds did (Gustav Tenngren with Pinocchio, Tyrus Wong with Bambi, and of course later Mary Blair with the final Alice in Wonderland, among others). They embraced both a sense of believability and a sense of whimsy and style that only animation could reproduce, whereas Hall seems very much at home creating a highly realistic piece that looks like it was done for live-action. I think that he was perhaps a bit too weighed down by the limits of trying to stick to Tenniel, though I think that some of his ideas for character designs and staging ideas are wonderful. If anything, they're good illustrations.
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Post by Disney Duster »

Jackoleen, why thank you, but I really wanted to keep it to three eras. I guess you kind of did, but I am keeping this about Disney, not Pixar. Pixar is not Disney no matter what anyone says! But thank you, that did help.

Wondy...oh...well...thank you for clearing that up.

Oh, and I like David Halls work, that's why I asked for it! I also especially love his Sleeping Beauty work, the cathredals, that look pretty much like Notre Dame, so I guess they were pretty sure of setting it in France.

And...please, I want to show clips from movies in my Power Point, not just pictures. Can someone please tell me how to do this, with either DVD ripping software or something else?

Michael
October 21, 2010
Public Speaking
Professor Dean
Informative Speech

Chronological order
Hook: Everyone here knows about Disney, and has seen a Disney movie, and I think most of us like some of them or think they are great. It is part of our popular culture and often our childhoods. And sometimes it feels it’s taking over the world. But the core of the company is the artistic animated films made, that started long ago, and now I want to tell you about them in a way that may make you view them more as art than only cartoons and fond memories.
I Introduction: What Started it All
A. The first animation
1.1906, James Stuart Blackton’s “Humorous Phases of Funny Faces”, stop-motion stick-puppetry, shadow
2. Phantasmagorie, Gertie the Dinosaur, Little Nemo
3. 1924, First Sound, “Song Car-tunes”, 1920, First Color “The Debut of Thomas the Cat” or “In Gollywog Land”, 1912.
B. Disney’s first animation
1. 1922 Little Red Ridinghood, Laugh-O-Grams, the Alice Comedies, shorts.
2. First Sound “Steamboat Willie”, First Color, “Flowers and Trees”
C. Feature animation – The First Era – The Golden Age
1. Snow White and the Seven Dwarfs, Gustaf Tenggren.
2. Pinocchio, Gustaf Tenggren
3. Fantasia, Bambi, various
4. Bambi, Tyrus Wong
5. Saludos Amigos, The Three Caballeros, Make Mine Music, Fun and Fancy Free, Melody Time, The Adventures of Ichabod and Mr. Toad, Mary Blair
6. Cinderella, Alice in Wonderland, Peter Pan, Mary Blair
7. Lady and the Tramp, Sleeping Beauty, Eyvind Earle
8. 101 Dalmatians, The Sword in the Stone, The Jungle Book, Ken Anderson
II The Renaissance
A. The Second Era – The Dark Age and The Renaissance
1. The Aristocats, Robin Hood, The Many Adventures of Winnie the Pooh, The Rescuers, The Fox and the Hound
2. The Black Cauldron, The Great Mouse Detective, Oliver & Company, first CGI
3. The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Hans Bacher, Aladdin, Al Hirscfield, The Lion King, CAPS
4. Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, Tarzan, Fantasia 2000
5. Dinosaur, The Emperor’s New Groove, Atlantis: The Lost Empire, Mike Mignola, Lilo & Stitch, Chris Sanders, Treasure Planet, Brother Bear, Home on the Range
III. Today
A. The Third Era – The Uncertain Times
1.Chicken Little, Meet the Robinsons, Bolt, Chris Sanders, The Princess and the Frog, Tangled, Fragonard


1908 Fantasmagorie - The comment that this was done on chalk is incorrect. First of all, it is impossible to animate with this much accuracy in chalk. Cohl animated on paper and the white line effect was the result of using a "negative reverse" changing the black line on paper to white on black

Film was pretty new and amazing to see for anything back then, live action was amazing, but animation, even more.

Gertie Dinosaur re-drawn backgrounds, first key frame animation

If Little Nemo style was in Cinderella…also 101 Dalmatians backgrounds actually!

Dry-brush and airbrushing techniques were used on Disney's first animated features. It seems that actually an ink-and-painter named Betty Kimball did a lot of experimenting for the film Fantasia, and created the dry-brush technique used for that film.

The animation for "Ave Maria" had to be about an inch away from the paper as they drew the monks with torhces, and any imperfect lines would be seen too clearly, so they had to make it perfect when it was so small and tiny and meticulous.

The Black Cauldron was going to have the first ever hologram in a theater that projected a 3-D undead warrior that came to life from the cauldron to rise and loom over the audience. But The Black Cauldron was the most expensive animated feature up to that point, and the money to use the hologram would have been too much, so it wasn't used. And good thing they didn't, because the fim didn't make back it's production costs in the box office.

The Black Cauldron was the first animated film to feature a 3D element.

http://one1more2time3.wordpress.com/?s=cinderella
http://one1more2time3.wordpress.com/tag ... the-beast/
http://one1more2time3.wordpress.com/tag/disney/




PROJECT

http://jimhillmedia.com/editor_in_chief ... -book.aspx

http://www.ibexgalleries.com/images3/au ... nggren.jpg

http://1.bp.blogspot.com/_Sar8IPNlxOY/S ... _total.jpg

http://i.ytimg.com/vi/Uc5skIrEiVE/0.jpg

http://2.bp.blogspot.com/_9K88ifuseYA/S ... onstro.jpg

Fantasia

http://i.blogs.indiewire.com/images/blo ... mage_6.jpg

http://www.inetres.com/gp/anime/fantasia/f12_12.jpg

http://www.entertainmentpk.com/wp-conte ... -night.jpg

http://www.reverseshot.com/files/images ... review.jpg

Bambi

http://one1more2time3.files.wordpress.c ... t-art1.jpg

http://www.sanfranciscosentinel.com/wp- ... dation.jpg


Jackoleen, why thank you, but I really wanted to keep it to three eras. I guess you kind of did, but I am keeping this about Disney, not Pixar. Pixar is not Disney no matter what anyone says! But thank you, that did help.

Wondy...oh...well...thank you for clearing that up.

Oh, and I like David Halls work, that's why I asked for it! I also especially love his Sleeping Beauty work, the cathredals, that look pretty much like Notre Dame, so I guess they were pretty sure of setting it in France.

And...please, I want to show clips from movies in my Power Point, not just pictures. Can someone please tell me how to do this, with either DVD ripping software or something else?


Chronological order
Hook: Everyone here knows about Disney, and has seen a Disney movie, and I think most of us like some of them or think they are great. It is part of our popular culture and often our childhoods. And sometimes it feels it’s taking over the world. But the core of the company is the artistic animated films made, that started long ago, and now I want to tell you about them in a way that may make you view them more as art than only cartoons and fond memories.


The first animation

1906, James Stuart Blackton’s “Humorous Phases of Funny Faces”, stop-motion stick-puppetry, shadow

Film was pretty new and amazing to see for anything back then, live action was amazing, but animation, even more.

1914, Gertie the Dinosaur by Winsor McCay, Little Nemo by Winsor McCay.

Gertie Dinosaur re-drawn backgrounds, first key frame animation

1924, First Sound, “Song Car-tunes”, 1920, First Color “The Debut of Thomas the Cat” or “In Gollywog Land”, 1912.

Disney’s first animation
Walter Elias Disney was born December 5 in 1901 in Chicago, Illinois, but when he was young, he moved to Marceline, Missouri.

1922 Little Red Ridinghood, Laugh-O-Grams, the Alice Comedies, shorts.

"Alice Comedies," a series of 56 silent cartoons made by Walt Disney between 1924 and 1927.

1924, First Sound, “Song Car-tunes”, 1920, First Color “The Debut of Thomas the Cat” or “In Gollywog Land”, 1912.

1928 First Sound “Steamboat Willie”, 1932 Silly Symphonies First Color, “Flowers and Trees”.

Gustaf Tenggren was a swedish artist influenced by scandinavian and all European folklore and artists. He was hired at Disney as an art director from 1936-1939.

Gustaf Tenggren had this habit of signing his concept paintings that Walt Disney didn't approve and was one thing that led to him finally leaving the studio.

Tyrus Wong, Chinese, had to paint in oil to get the grass on different plains.

Dry-brush and airbrushing techniques were used on Disney's first animated features. It seems that actually an ink-and-painter named Betty Kimball did a lot of experimenting for the film Fantasia, and created the dry-brush technique used for that film.

The animation for "Ave Maria" had to be about an inch away from the paper as they drew the monks with torches, and any imperfect lines would be seen too clearly, so they had to make it perfect when it was so small and tiny and meticulous.


C. Feature animation – The First Era – The Golden Age
1. Snow White and the Seven Dwarfs, Gustaf Tenggren.
2. Pinocchio, Gustaf Tenggren
3. Fantasia, Bambi, various
4. Bambi, Tyrus Wong
5. Saludos Amigos, The Three Caballeros, Make Mine Music, Fun and Fancy Free, Melody Time, The Adventures of Ichabod and Mr. Toad, Mary Blair
6. Cinderella, Alice in Wonderland, Peter Pan, Mary Blair
7. Lady and the Tramp, Sleeping Beauty, Eyvind Earle
8. 101 Dalmatians, The Sword in the Stone, The Jungle Book, Ken Anderson
II The Renaissance
A. The Second Era – The Dark Age and The Renaissance
1. The Aristocats, Robin Hood, The Many Adventures of Winnie the Pooh, The Rescuers, The Fox and the Hound
2. The Black Cauldron, The Great Mouse Detective, Oliver & Company, first CGI
3. The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Hans Bacher, Aladdin, Al Hirscfield, The Lion King, CAPS
4. Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, Tarzan, Fantasia 2000
5. Dinosaur, The Emperor’s New Groove, Atlantis: The Lost Empire, Mike Mignola, Lilo & Stitch, Chris Sanders, Treasure Planet, Brother Bear, Home on the Range
III. Today
A. The Third Era – The Uncertain Times
1.Chicken Little, Meet the Robinsons, Bolt, Chris Sanders, The Princess and the Frog, Tangled, Fragonard

Gustaf Tenggren was a swedish artist influenced by scandinavian and all European folklore and artists. He was hired at Disney as an art director from 1936-1939.

Gustaf Tenggren had this habit of signing his concept paintings that Walt Disney didn't approve and was one thing that led to him finally leaving the studio.

Tyrus Wong, Chinese, had to paint in oil to get the grass on different plains.

Dry-brush and airbrushing techniques were used on Disney's first animated features. It seems that actually an ink-and-painter named Betty Kimball did a lot of experimenting for the film Fantasia, and created the dry-brush technique used for that film.

The animation for "Ave Maria" had to be about an inch away from the paper as they drew the monks with torches, and any imperfect lines would be seen too clearly, so they had to make it perfect when it was so small and tiny and meticulous.

The Black Cauldron was going to have the first ever hologram in a theater that projected a 3-D undead warrior that came to life from the cauldron to rise and loom over the audience. But The Black Cauldron was the most expensive animated feature up to that point, and the money to use the hologram would have been too much, so it wasn't used. And good thing they didn't, because the fim didn't make back it's production costs in the box office.

The Black Cauldron was the first animated film to feature a 3D element.

http://one1more2time3.wordpress.com/?s=cinderella
http://one1more2time3.wordpress.com/tag ... the-beast/
http://one1more2time3.wordpress.com/tag/disney/




PROJECT

http://jimhillmedia.com/editor_in_chief ... -book.aspx

http://www.ibexgalleries.com/images3/au ... nggren.jpg

http://1.bp.blogspot.com/_Sar8IPNlxOY/S ... _total.jpg

http://i.ytimg.com/vi/Uc5skIrEiVE/0.jpg

http://2.bp.blogspot.com/_9K88ifuseYA/S ... onstro.jpg

Fantasia

http://i.blogs.indiewire.com/images/blo ... mage_6.jpg

http://www.inetres.com/gp/anime/fantasia/f12_12.jpg

http://www.entertainmentpk.com/wp-conte ... -night.jpg

http://www.reverseshot.com/files/images ... review.jpg

Bambi

http://one1more2time3.files.wordpress.c ... t-art1.jpg

http://www.sanfranciscosentinel.com/wp- ... dation.jpg

Cinderella concepts!:
http://farm3.static.flickr.com/2344/197 ... b073_o.png
http://archive.liveauctioneers.com/arch ... 6_1_lg.jpg
http://asset3.artabase.net/uploads/exhi ... 1282611620
http://i44.tinypic.com/20jg3t.jpg
http://scoop.diamondgalleries.com/publi ... 2300_2.jpg
This shows the heightened, angled architecture: http://www.google.com/imgres?imgurl=htt ... s%3Disch:1
http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://images.ha.com/lf?source=url%5Bfi ... %5Btrue%5D

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://scoop.diamondgalleries.com/publi ... 5334_8.jpg

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

http://www.google.com/imgres?imgurl=htt ... s%3Disch:1

Michael Quelet
October 21, 2010
Public Speaking
Professor Dean
Informative Speech

Chronological order

Bringing Art to Life: Disney Animation
Hook: Everyone here knows about Disney, and has seen a Disney movie, and I think most of us like some of them or think they are great. It is part of our popular culture and often our childhoods. And sometimes it feels it’s taking over the world. But the core of the company is the artistic animated films made, that started long ago, and now I want to tell you about them in a way that may make you view them more as art than only cartoons and fond memories.
I Introduction: What Started it All
A. The first animation
1.1906, James Stuart Blackton’s “Humorous Phases of Funny Faces”, stop-motion stick-puppetry, shadow
2. Phantasmagorie, Gertie the Dinosaur, Little Nemo
3. 1924, First Sound, “Song Car-tunes”, 1920, First Color “The Debut of Thomas the Cat” or “In Gollywog Land”, 1912.
B. Disney’s first animation
1. 1922 Little Red Ridinghood, Laugh-O-Grams, the Alice Comedies, shorts.
2. First Sound “Steamboat Willie”, First Color, “Flowers and Trees”
C. Feature animation – The First Era – The Golden Age
1. Snow White and the Seven Dwarfs, Gustaf Tenggren.
2. Pinocchio, Gustaf Tenggren
3. Fantasia, Bambi, various
4. Bambi, Tyrus Wong
5. Saludos Amigos, The Three Caballeros, Make Mine Music, Fun and Fancy Free, Melody Time, The Adventures of Ichabod and Mr. Toad, Mary Blair
6. Cinderella, Alice in Wonderland, Peter Pan, Mary Blair
7. Lady and the Tramp, Sleeping Beauty, Eyvind Earle
8. 101 Dalmatians, The Sword in the Stone, The Jungle Book, Ken Anderson
II The Renaissance
A. The Second Era – The Dark Age and The Renaissance
1. The Aristocats, Robin Hood, The Many Adventures of Winnie the Pooh, The Rescuers, The Fox and the Hound
2. The Black Cauldron, The Great Mouse Detective, Oliver & Company, first CGI
3. The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Hans Bacher, Aladdin, Al Hirscfield, The Lion King, CAPS
4. Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, Tarzan, Fantasia 2000
5. Dinosaur, The Emperor’s New Groove, Atlantis: The Lost Empire, Mike Mignola, Lilo & Stitch, Chris Sanders, Treasure Planet, Brother Bear, Home on the Range
III. Today
A. The Third Era – The Uncertain Times
1.Chicken Little, Meet the Robinsons, Bolt, Chris Sanders, The Princess and the Frog, Tangled, Fragonard

Finch, Christopher. The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms. New York, Harry N. Abrams, Incorporated. 1995.
Canemaker, John. Walt Disney’s Nine Old Men and the Art of Animation. New York. 2001.









Commemoration: What lives on.

1. Hello everyone. Mom and dad. Aunt Jonice, cosuin Peter, and cousin Orianna. I'm glad to have you all here this evening .

2. I wanted to make a commemoration of the beloved animals you all knew, witnessed, and even took care of at some points. The wonderful guinea pigs, Brownie and Nokomis.

3. Brownie and Nokomis first started their lives as our pets when me and dear Mom bought them in a pet store, after mom saw the many animals in the pet store and just felt we had to get one after school. It was nice to get them back in middle school, because they was not the easiest time of my life, so cute, furry, friendly, loving animals were a nice way to brighten my every day.

When we went in the store, I wanted one guinea pig, and mom wanted the other. Guinea pigs are small, and not too much of a hassel, so, my mom wonderfully decided to get both! Brownie was the boy pig, and I named him Brownie, after my favorite food, and because he was mostly brown, with some white and caramel colors, too. Mom got the girl, and named her Nokomis after the grandmother of the title character in the Native American poem "The Song of Hiawatha", and she has something to do with the moon. Her colors were white, caramel, and black.

Brownie and Nokomis were super duper cute. The cutest guinea pigs you ever did see. Brownie would would sometimes bother Nokomis when they were both on mom's lap getting pet, but he would also groom himself, and that was pretty cute, seeing him try to make himself look nice, and he was a guinea pig.

Nokomis was also quite the pig. One time, when we were letting them roam around on our kitchen floor (don't worry, we cleaned up afterwards), we gave them many different kinds of foods to see what they like, but one of them was carrots. And Nokomis, that little guinea pig, actually picked up a big, almost full-sized carrot, and lifted it and fell, lifted it and fell, lifted it and fell, dragging it all the way to their little cage in the corner to eat it. She was determined to use her strength to get that carrot.

And both of them, whenever they heard us getting their favorite food, the bag of lettuce, which made rustling sounds, they would squeak, and whistle, and they would poke their heads out of their little wooden houses in their cages and bop up and down, and weave back and forth.
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