Tangled concept art by Jin Kim - Rapunzel and Bastian/Bastion (original hero before being replaced by Flynn Rider/Eugene)

(Source: disneydayandnight)



Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.

(Source: timblanks, via bubonickitten)



my new watercolors in the Lovely show at the Galerie Arludik in Paris until July 19th.



For Tiana Appreciation Week:

The Princess and the Frog Little Golden Book 
Illustrated by Lorelay Bove

Part 1 || Part 2 || Part 3

(via disneyofcolor)




More Frozen visual development! Early exploration for a version of the Snow Queen character based on Bette Midler’s showgirl stage presence.

i would have liked this infinitely more.




Early visual development of Elsa for Frozen. I was inspired by the late Amy Winehouse’s pathos. I imagined Elsa with a deep, soulful voice and dramatic mood swings. 

(via keaneart)


A collection of handmade Disney Golden Book Lockets! By 12-59lullaby Etsy
Mod note: This submission is not by an artist working for Disney or has had worked for Disney but there’s no harm in posting this.

A collection of handmade Disney Golden Book Lockets! By 12-59lullaby Etsy

Mod note: This submission is not by an artist working for Disney or has had worked for Disney but there’s no harm in posting this.



[ Cuz way down deep inside we have a d r e a m ]

Illustrations by Brittney Lee. Graphic by hiddenblondie for heartofarendelle and fairerthansnowPlease do not remove credit or repost!


Character Design with Stephen Silver and Daniel Arriaga


Schoolism is excited to welcome Pixar character artist, Daniel Arriaga, as a guest instructor! Critiqued Session students will follow the same “Character Design I with Stephen Silver” lectures and curriculum, but receive personalized video feedback from Daniel Arriaga.

This course consists of 9 lectures presented over 14 weeks.

The course costs $998; two schedule courses open on January 14, 2014 and July 8, 2014. 

Lesson 1 - What is character design?

Throughout this lesson, we will examine what character design is as well as your responsibilities as a designer in the animation studio. I will discuss my own experiences, how I got started, as well as doing a visual breakdown of my influences, thereby, giving you a better understanding of what I’m thinking about when seeking inspiration. In this class, you will be given your first assignment, which will consist of creating a character based off a description so that I can see what your skill level is, giving me a better understanding of how I will work with you one-on-one.

Lesson 2 - Thinking, Looking, Doing.

"Get the fundamentals down and everything else you do will rise." This week I will be discussing Thinking, Looking and Doing. We will cover more design fundamentals and answer the most common question, "Where do I begin?" We will cover topics such as basic shapes, variation and the importance of strong silhouettes. I will discuss my own personal drawing exercises with you, which will help break those artist’s blocks that we all get at times. You will also be given your scripted assignment that you will carry out from start to finish.

Lesson 3 - Construction/Caricature

In this class, we will cover the importance of construction. We will discuss what it means to avoid the ladder and tap into the realm of caricature. We will examine design issues such as contrast in angles and shapes and much more. I will give and demonstrate for you another great drawing exercise that you will be using for years to come. On top of all this, you will also be able to download my own 20 week drawing program. We will have two assignments this week.

Lesson 4 - The features

We will discuss more design principles and start breaking down some individual features, such as hands, eyes, noses, ears, and mouths. We will start fleshing out our characters some more.

Lesson 5 - Clean-up

In this lesson, we will cover scale and proportion. I will also do a lecture on clean-ups. As a designer, you may not often be called upon to perform this task, but you might have to do it from time to time. This will not be an illustrator lecture, but a clean-up-by-hand procedure. I will also be demonstrating another creative side assignment for you to have fun with during the week as well as continuing on with your main assignment.

Lesson 6 - Turnarounds

Today we will cover the important topic of turnarounds, a must if you want to work as a character designer in the industry.

Lesson 7 - Expressions and Attitudes

This week we will be covering expressions and attitudes. We will cover rythm, balance and flow. I will also do a brief color demo on my characters. You will be given another creative exercise to do during the week in addition to your main assignment.

Lesson 8 - Memory sketching and how to approach keeping and drawing in a sketchbook daily.

Today, we will be discussing the importance of drawing in your sketchbook, what you should be observing and why this will help you grow. We will also talk about the importance of memory sketching and what to look for.

Lesson 9 - The business of art and putting together a successful portfolio.

We will discuss the business side of art, being a professional, meeting deadlines, ending procrastination and ways to simplify your life. This means getting organized and staying on track. I will also cover putting together your portfolio to get yourself started.



Here’s a great little collection of Wicked character art created by Disney animator Minkyu Lee, which shows us what the characters would look like in a Disney animated film. Lee worked on films such as The Princess and the Frog and Frozen. These were created by the artist while studying at CalArts and interning at Disney. [x]


This blog is a celebration of the new generation of Disney artists. I do not own these images and I'm in no way affiliated with these artists or the Walt Disney Company. I am just an admirer.

Note: The image I chose for the profile picture is a concept art for Walt Disney Animation Studios' Tangled by Claire Keane.

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