This was a presentation that I didn't really think would apply to me, however it turns out that it was perhaps the most relevant in terms of my honours project and exegesis. The discussion about the animation of the Disney parks was led by Imagineering Senior Vice President of creative development Tony Baxter and Imagineering vice president of creative development Tom Morris.
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| Imagineer Tony Baxter |
Given that this presentation was more about Imagineering, I figured that it was not applicable to my 2D animation, yet within this presentation there was so much focus on how to use environmental storytelling to create an immersive narrative that I soon found myself with a whole list of new artists and references to seek out once I returned home to study.
I was already familiar with some of the tenements of Imagineering and their employment of environmental storytelling in the creation of Disney park rides and experiences, however I did not realise how important the use of environmental storytelling and the production of 2D concept art was, in terms of building the parks. Through this presentation I learnt that not only were architectural drawings required but more importantly concept art that showed the environment and most importantly the purpose of the space and the atmosphere. The art for the Imagineering projects had a primary role and it was to tell stories. Progression of a narrative through background environment art. EUREKA - this was exactly my exegetical focus.
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| Mary Blair with Claude Coats |
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| Mary Blair and Claude Coats work in background and layout |
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| Mary Blair |
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| Claude Coats - Peter Pan (film) |
Peter Pan (1953) is the only Disney film to have had all of the nine old men of Disney animation work on it in some capacity. I knew there was a reason it was one of my faves.
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| John Hench, Claude Coats (centre) & Walt Disney- Alice Concepts |
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| Mary Blair, Claude Coats & John Hench- Alice in Wonderland |
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| Mary Blair, Claude Coats & John Hench- Alice in Wonderland |
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| Claude Coats & the stray that was the studio model for Tramp |
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| Claude Coats: Lady and the Tramp Backgrounds and Layouts |
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| Lady and the Tramp Backgrounds- Claude Coats |
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| Concept Art- Grand Canyon Disneyland |
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| Concept Art- Pirates of the Caribbean ride Disneyland |
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| Concept Art- Pirates of the Caribbean ride Disneyland |
More information about
Claude Coats and
Mary Blair can be found by clicking on their names.
The presentation moved from Mary Blair and Claude Coats to touch on Marc Davis and John Hench and their influence on the Disney parks before focusing on the works of Herb Ryman. Ryman's concept art for both Disneyland and Disney World really encapsulates the notion of telling a story through backgrounds. His use of colour to create atmosphere and give purpose to place were key in this process.
Ryman influenced three time academy award winner
John De Cuir Sr who was responsible for large scale set design on live action film sets such as Hello Dolly, Cleopatra and The King and I amongst countless others.
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| Film set design for Hello Dolly |
The importance of concept design in directing action can be seen in the image below where Ryman had created a detailed concept sketch for the film David Copperfield and on the left is the final film set. Each detail placed for a particular reason to help propel the story forward.
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| Film set and original concept design for David Copperfield. |
This presentation has given me new sources and new inspiration to apply to my own studio practice, stay tuned to see how it emerges in my own background and layout work.
