Just one example of what we watched on Sunday nights back in 1960 when color television was a wonderful new experience, especially with Uncle Walt..

"Be Our Guest" Restaurant Mural

One of 10 early watercolors I did for Beauty and Beast 

"The Little Mermaid" was not even in the can so to speak when I was hooked in to fish out a few concepts for a new picture entitled, "Beauty and the Beast" along with Mike Hodson, a remarkable designer with a pencil. Dick Purdum was named director after Richard Williams turned it down and my wife Patty was creating pastels alongside Mel Shaw. Patty was the Project Lead which meant she was also my ... boss. She enjoyed that aspect tremendously as she could now tell me what to do at work as well as at home. I began doing some colorful watercolor concept pieces only to be called into the front office where I was told by management, "This isn't going to be another musical like Mermaid, it will be a very straight dark film, much like the Jean Cocteau version." I checked out the Cocteau classic and suddenly had visions of another heavy film like Black Cauldron all over again and reluctantly decided not to stick around, a rather short sighted mistake on my part. I needn't have panicked for when Mermaid was released and became a resounding splash along with or maybe because  of it's memorable soundtrack, the direction of a non-musical dark Beauty film was tossed, thank goodness. It was to be a magical musical more than ably directed by Gary Trousdale and Kirk Wise, utilizing a very talented animation crew, another outstanding score by Howard Ashman and Alan Menken and with stand out character animation of the Beast by Glen Keane. A true classic of the so called "Disney renaissance."

Well let's scoot forward to 2011 when I answered my phone, (I often do that when it rings,  but I get so sick of those telemarketers don't you?), and found myself in a discussion with WDI to design a mural for their "Be Our Guest" restaurant based on the film. Naturally I said yes, partly because I had worked with this talented team already on earlier projects and also because it's' nice to work and get paid. My wife shares in that opinion.

Mural rough blocking with guest's eyeline in mind

 The mural was to be a distant simple countryside view of majestic mountain ranges as seen from the Beast's castle ballroom. There would be drifting cloud effects and twinkling stars. After some early sketching I just thought it was lacking that something special. I mean come on, summer in Orlando, with that humidity. I just remembered how great it always felt to come in from the sweltering sun and sit down and cool my heels at the Blue Bayou restaurant at the Pirate ride and wanted something as visually memorable. I remembered that the Beast Castle was blanketed in snow for quite a bit of the film. I watched the DVD of the film just to make sure, yep, there was definitely some white stuff on them thar hills. So I though, "Why not add some icy frost to the window panes, skip the moving clouds and instead add soft falling snow flakes that would glisten as they dance through the light from the restaurant's Renaissance styled windows? "

CGI set that sold the snow idea

My final "thumbnail" rendering

I created an animation using my almost completed illustration as a rear projection with the camera moving around a simply modeled dining room CGI set and through columns, and timidly added it as an attachment. When I got a call from WDI, I was prepared to get politely reprimanded for wasting time but instead entered a phone conference call full of imagineers congratulating me on the idea. One even remarked how neat it was to actually see the concept realized fully in 3D!

"Be Our Guest" restaurant during construction.

With the support of the marvelous team at WDI headed by Senior Show Designers Jon Georges, Chris Beatty, and David Minichiello, I surged ahead finishing the final illustration. The digital painting I created was saved as a PSB, which is the "super-sized" format for Photoshop files and I brought it over on my hard drive. At first they had trouble finding a computer with enough ram to open and scroll through the massive image which had me sweating bullets over whether I had saved it correctly but it all worked out. They were able to transfer the image onto a large curved canvas and the Disney artists on site did their wizardry to make it all came together.

The full size canvas mural ready for installation

On location in Walt Disney World, a team of skilled artists worked it over and really made it shine. In the end, the folks at WDI from the Senior Show Designers and Imagineers to all of the talented technicians and artists involved created yet another savory and delicious memory for Walt Disney World guests.

Well as Lumiere would say, "Ma chère mademoiselle. It is with deepest pride and greatest pleasure that we welcome you tonight. And now, we invite to relax, let us pull up a chair, as the dining room proudly presents... your dinner." 

Sheesh, I'm getting hungry already! HEY WAITER!!!

Art from the heART

This free event is the brainchild of Kim Peraza who is the Special Chairperson on Mortar Board UCLA which is their select Honor Society. She suffers from Epilepsy but has always tried to keep things positive and to give back whether sending packages to soldiers overseas, volunteering in shelters, or collecting food for shelters.

The great kids from the Mortar Board are going to help fund the CURE for Epilepsy with a benefit Art Show and Charity Benefit. There will be some amazing art for sale and silent auction. 

The format is very simple, they are also doing what many public television stations do, just put on an entertaining show and hope that people will like it so much they will donate since it is a free UCLA event. 

There will also be some behind the scenes clips never before seen of the making of some of the most popular animated films in history. They are also hoping that the CURE will provide a video hello from Susan the founder of CURE. The panel by the way is a veritable who's who of Disney animation and promises to be a lot of fun. Come on out and enjoy a wonderful evening and please donate for a very worthwhile cause.

Paper Sculpture

A behind the scenes demonstration of how Mike Peraza produces original editions of paper sculptures based on the Warner Brothers characters "Wile E. Coyote" and his nemisis the "Road Runner" created by legendary animator director Chuck Jones.

DUMBO Flying High Again!

One of my panels, from pencil to paint.

The DUMBO ride has been an iconic memory of Disneyland almost since the park first opened its drawbridge in July 1955. I said almost because when the fiberglass pachyderms arrived 3 weeks before opening at a flying weight of 700 pound each. When load with passengers (oops they hadn'tt added in the extra weight) they scraped the lower wood rim.  The ride went on a strict structural diet to lose weight and had to be reworked. This resulted in the attraction not opening until taking flight August 16, 1955. 

A few of Bill Peet's Story Sketches

The ride is of course based on the timeless classic film, "DUMBO" released by Walt Disney in 1941 which was a boon to the studio and the hit they needed to recoup box office losses from Fantasia. It was a simple and economically made feature with a running time of 64 minutes. When asked to lengthen the time Walt refused saying it was fine the way it was. Wish we had that kind of clear thinking these days. DUMBO was also one of the most heartfelt of the Disney classics and I defy anyone to sit through the "baby mine" lullaby sequence and not get misty eyed. I'll get into much more detail on the film in a later post but for now, this is about the ride.

Original "Pink Elephants version

The original plans had the 10 pink pachyderms which garnered the nickname "Pink Elephants on Parade". Walt decided he wasn't too keen on seeing guests flying formations on some intoxicated mammals and so ordered all of the elephant artwork grounded until they were painted blue-gray and to be on model to DUMBO.  

DUMBO evesdropping

Originally the ears were hinged and would slowly flap up and down which I remember seemed to make them seem even more alive when I visited the park soon after it opened. This ear movement created a great effect, when it worked. Unfortunately it jammed frequently and DUMBO looked like he was trying to execute a barrel roll or listen in on Aunt Esther's secret recipe for apple pie crisps. The little fellows got plastic surgery on all the ears and they never flapped again.

One of the many gilded sculptures that adorn the ride

Eventually the other parks received their own versions of the DUMBO ride, each time adding something new. More capacity from 10 elephants to 16, fountains of water surrounding the inner base and so on. Well with the wonderful updates at the New Fantasyland in Walt Disney World, we have achieved yet another milestone.

This week the park unveiled the ride to an appreciative audience. It is the first installation of what eventually will be two DUMBO carousels flying in opposite directions. It also has many new features such as fountains with corresponding LED light show that is best described by the fans as a mini version of the World of Color night show, so make sure to stop by and see it in the evening. It is also adorned with gilded sculptures of characters and props from the film from the Stork to Momma Jumbo to even peanut shells. The base is also trimmed with 8 story panels depicting the entire Film story of our favorite little flying fellow. I was honored when they contacted me to design those pieces not just because I deeply respect the amazing people they have at WDI but because DUMBO is easily on my short list of favorite Disney films.

A few of the panels I did in various stages.

I met with Imagineers to discuss the basic layout and size of each panel which grew from 3 feet to a healthy 10 feet apiece. I was given a frame design's inner contour to use as a guide while designing since these were to be enveloped within very ornate sculpted shapes as a homage to circus ornamentation.

The WDI crew was constantly improving each step of the process and one minor snag was hit when they changed the frame outline during the painting process. It was worth it as the new frame was a beautiful modification and only improved the settings for my illustrations. I chose what I felt were the key moments in DUMBO's journey and got marvelous input from my bosses at WDI. I had painted in a very black BG behind the "pink elephants" panel which although true to the film, was much too dark when surrounded by the other pieces and created a "hole" effect. Luckily again this was pointed out to me and I simply painted it over with a gradation of cobalt blue and I have to admit, it was much better.

The DUMBO ride is one of the few rides found at every Magic Kingdom park around the world. Even though it is basically a simple and classic amusement park design, there is a tremendous appeal for adults as well as children. It is in no short thanks to the little elephant who rose to the occasion many years ago.

Merry Christmas!

Jim Henson Tribute

Kermit croons a spellbinding theme called Rainbow Connection.

When a friend called to ask me to contribute a piece or two for a tribute to the visionary muppeteer Jim Henson to be held this month, I couldn't say yes fast enough. I had worked briefly with Jim and Frank Oz on their first muppet feature, "The Muppet Movie," as what else? A muppeteer. I was Emmet Otter and my classmate and future wife Patty Paulick was ironically MA otter. On the movie set we quickly learned important terminology like, "Muppets Up!" That popular ditty would soon be followed by the equally unforgettable, "Muppets down!" As Jim explained, "you new people have no idea how tired your arm will get just holding it in an UP position. A few minutes here and a few there and soon you realize the entire day has gone by and for some reason, your arm is really sore." Many seasoned muppeteers grinned in silent agreement with Jim and so we took that tidbit to heart rather quickly. It was and IS  great advice by the way. We found ourselves surrounded by talented people from all walks in life that somehow shared a passion for puppetry. These people were amazing to watch as their performances brought each character to life before our eyes.

Frank Oz, but you can call him MA Otter

We performed to a pre-recorded soundtrack and worked below floor level, watching small TV screens to check on the movement we couldn't see above our heads. After a few hours sped by we were enjoying our first lunch break when a lanky figure ambled over to sit with Patty and I. It was Kermit, followed very  closely by his alter ego Jim Henson. Jim asked us in his soft spoken voice how we were enjoying the shoot so far and as Kermit entered the conversation I found myself looking and speaking to him, along with Jim. It was magic. If you have ever met or worked with Jim you realize I am not exagerating when I say how friendly and pleasant to be around the guy was. A shrill voice soon interrupted  our talk as Miss Piggy invaded our little circle dragging along Frank Oz by the arm. It was hilarious watching and listening as Kermit and Miss Piggy went at it while the human counterparts below seem to almost disappear. Miss Piggy complained about many things including how drafty the sound stage was, which was why the curls were not staying in her hair and the fact that Frank's hands were too cold (and a few other remarks )and we all cracked up. That was hands down, (or is that muppets down? ) one of the most convivial crews I have ever worked with. 

As Frank was the voice for MA he took some time to help Patty out with her characterization of the little woman. Jim likewise gave me pointers on Emmet but also threw some real compliments my way concerning my muppeteering skills that I will always cherish. I actually felt guilty when I got my paycheck for doing what was truly a thrill for me. I did eventually cash the check, I mean come on, starving artist, remember?  Like many people reading this blog, I have been a fan of Jim's work back when the muppets were more or less nameless monsters and were featured in black and white television commercials and on the Ed Sullivan Show. My brothers and I would squeal with laughter at the antics of a small lizard like creature, nameless at the time but after a few more design modifications like webbed feet, we would all know him eventually as Kermit the Frog.  We also enjoyed Rowlf the Dog on the "Jimmy Dean Show". So when the Gallery  came a' knocking for a tribute piece, I was thrilled at the opportunity to share my deep appreciation for Jim Henson and what he has done for me and so many other childhoods in sharing his love for life.

"Soul Mates" basic blocking

"Soul Mates" adding washes

First thing I did was to knock out lots of quick little sketches. The second thing I did after looking at those embarrassing little doodles was realize it had been a long time since I had drawn these guys, and I had better get some good reference out and get reacquainted with the Muppet clan. I went ahead and spent the day looking through the many books I have on the Muppets, from "Jim Henson, The Works" to various Story books and record albums even resorted to sketching while watching a DVD of "Muppet Movie" and before too long I was once again comfortable with his wonderful world of muppet magic all over again. In fact with this sudden inundation of muppet mythos, I felt a "Rainbow Connection" forming or maybe it was just the tune stuck in my head. Anyway, eventually the two pieces I came up with for the Tribute show are as follows:

"Soul Mates" ready to ship

"Soul Mates"  is an acrylic on canvas with Kermit enjoying some quiet time with his favorite playmate (Jim Henson of course!). I thought it would be fun to see these two switch places with Jim as the puppet and Kermit as the muppeteer. I usually work in water color or gouache so doing this in acrylic was really a fun exercise for me. I had some Winsor Newton acrylics but had read some great reviews on the Golden line of paints. Found collections of Golden at a local art store that blended beautifully on the canvas and of course I destroyed a few of my brushes in the creative process.

"Muppets and Mullions"

"Muppets and Mullions" is inspired by a beautiful photograph taken of Jim sitting in an alcove window with a view of the New York City skyline holding alter ego Bert on his knee between shooting takes of Sesame Street. His fellow muppeteer Frank Oz brought Ernie to life and the two contrasting muppet personalities made for lots of muppet mirth. I wanted to silhouette Jim and Kermit against a chaotic cacophony of cutups (pun intended) of many familiar faces from the muppet family. I kept the "crowd" in white to be seen as a grouping and further simplify them as a light value to make the darker Jim and Kermit foreground pop. I cut this project out of hundreds of little snips of paper, slicing, scoring, folding, gluing until it all seemed to finally come together. (Thank you Mr Bill Moore our Design teacher from Cal Arts! ) I also must add that I along with my wife Patty are thankful we have a vacuum cleaner that works.

It's an honor to be a part of something that says thanks to a man who has brought so much enjoyment all over the world. The exhibition will be from December 10, 2011 to January 2, 2012. Opening reception is December 10, 7:00 PM to 11:00 PM.  If you get a chance, come on down to the Gallery and say hello, I'd love to meet you as we pay tribute to the "man behind the muppets,  JIM HENSON."