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A
DISNEY
SKETCHBOOK
Copyright o 2012 Disney Enterprises. Ine. All rights reserved. Published by' Disney Editions, an imprint of
Disney Book Group. No part of this book may be reproduced or transmitted in any form or by any means,
electronic or mechanical , including photocopying, recording, or by any information storage and retrieval
system, without written permission from the publisher.

Designed by Tim Palin and Alfred Giuliani

. -
For information address Disney Editions, 114 Fifth Avenue New York , New York 10011 5690.
Editorial Director; Wendy' Lefkon
Associate fvdiror: Jessica Ward

- -
ISBN 978- 1-4231 6569 9
Printed in China
First Edition
10 9 8 7 6 5 4 ? 2 1
-
G615-7693 2-12209

^ £>23
The Official Disney Fan Club
Disncycotn/D23
 A
DISNEY
SKETCHBOOK

EDITIONS
NHVCr YORK
FOREWORD
Hand -drawn Disney animation holds a unique place in the history of modern
art and popular culture. The work showcased in this book comes from
Disney
artists and animators who brought great performances to the screen
by drawing with emotion, sincerity, and intensity. Knowing full -well that
many of these sketches would be seen only in pencil tests and preliminary
screenings —nr never at all — the artists "drew from within themselves” onto a
sheet of paper or a digital tablet. In the process, they created incredible works
of art in their own right .

While reviewing a few of his own rough animation drawings made for Peter Pan ,
Frank Thomas, one of Walt Disney's original “ Nine Old Men ,'' once explained
to me that he and his colleagues never thought of their drawings as final works
of art . “ We were working to communicate the story," he said , “and we were
thinking about what the character was thinking and feeling not only in this
moment , but in the one before it and the one after it . We weren't thinking
about making drawings . We were thinking about telling a story.”

Unprocessed , uninked , unpainted , and un - rendered , a selection of Disney

drawings is reproduced here as if drawn into a sketchbook. This Sketchbook
celebrates the very early stages of Disney filmmaking, in which the human
touch defines both a character 's performance and its role in telling a story.
Drawings used tor story and visual development , animation thumbnails , rough
animation drawings, layout drawings, and other works have been organized in
a rough chronological order, with the knowledge that many of these films and
their production stages often overlapped -

%
i m
 Works from known Disney artists representing each major period of the Studios
.
output so far have been included . Here are drawings by Ub 1 werks Joe Grant, Frank
Thomas, Olfie Johnston , Marc Davis, and Milt Kahl, as well as those from con -
temporary animators Andreas Deja , Eric Goldberg, and Glen Keane. Also included
are Studio drawings by many other Disney artists, and some by unknown artists.

—
The concept for this publishing project was to build an artifact a sketchbook
that may have been passed around The Walt Disney Studios lot. one in which
artists have studied each other s work over very different periods of time , and then
'

added their own sketches and ideas to inform succeeding generations of visual
storytellers. We haven t found such a sketchbook yet , so we made one of our own
until we do. Here it is, assembled with loving care by Disney Editions Associate
Editor Jessie Ward and Senior Designer A1 Giuliani from our Disney Publishing
offices. Also on hand to provide expert production guidance for this project were
Donna Kerley, Nisha Panchal , and Jennifer Eastwood .

Without the support of Andreas Deja. who generously shared his collection , Eric
Goldberg, and Leila Smith ( and her expert , hardworking team at the Walt Disney
Animation Research Library ) , this would have been a much lesser project indeed .
"
This is a book intended to be more of a visual romp than a read . It celebrates
" "

the art of drawing, and we hope it inspires artists and fans everywhere
,

Ken Shue
Vice President, Disney Publishing Global Art Development
Glendale , California
INTRODUCTION
Every drawing in this collection represents a step in a process of discovery.
Like other fine artists, the Disney animators, designers , and story artists whose
work appears in this anthology didn 't know exactly what their drawings would
look like until they were finished , but they knew what those drawings had
to do and say. The rough, often tentative, lines show the artists exploring and

discovering the best way to present a character at a specific moment in a story.

The storyboard panel by Bill Peel frum The Jungle Book is one of many, perhaps
dozens , the great story artist drew trying to find the poses for Mowgli and the
monkeys that communicated the key information in the scene most clearly. In
earlier versions. Mowgli's expression would have been dtftcrcnt . The monkeys
and branches would have been in different positions. Peet drew and redrew
until he had gotten all the entertainment potential out of the moment that he
could . Other artists and Walt Disney would have examined Peer s storyboards
'

and made suggestions that led to new drawings, which were clearer or more
dramatic or funnier.

Looking back over the sketches he made when he was designing Beast , Glen
Keane commented , "When you design a character for a Disney fairy talc , it's
going to become the definitive design for that character, so you don 't want to
hack something out, I needed to put in the kind of care 1 Felt it warranted if it 's
going to live on in history as the Beast ”
As there was no model for what Beast should look like, Keane initially experi
mented with funny horns and ears. But they made the character look like
-
an
alien who didnt fit into Belles world. He starred over, studying animals in a
zoo, and combining elements of a gorilla, bison , wolf, lion , bear, and wild boar
into the Beast that Belle learns to love.

Animators find inspiration everywhere. Ollie Johnston realized how Fauna in

Sleeping Beauty would act when he watched a little old lady on
vacation in
—
a hotel agree with everything her friends said even
when they contradicted
each other. For One Hundred and One Da!matins, Marc Davis wanted to
make Cruella De Vil move like someone you wouldn't like."
 But translating an inspiration into drawings that come to life on the screen in -
volves work , exploration , experimentation , frustration , and more work . As a
young artist , Brad Bird observed how Milt Kahl approached the animation of
Madame Medusa in The Rescuers. "He would draw a page of slight variations on
a single pose. If you just glanced at the page, there might be twelve or fifteen poses
that looked identical , Bird recalls, "But if you examined them closely, you d see
" '

all these little shifts; the shoulder would be a little higher the twist of the body
,

would be a little more pronounced , then a little less: fingers on the lips, knuckles
on the lips, wrist on the lips: head propped up, head propped down. He would
explore , pick one pose , then move on to the next one , which might occur a second
later, and do the same thing. He was constantly searching for the best
possible
graphic statement,"

Walt Disney advanced the art of animation by giving his animators the time they
needed to explore and experiment. Grim Natwick, who animated Snow White ,
said , "They allowed me two months of experimental animation before they ever
asked me to animate one scene in the picture , Disney had only one rule: whatever
we did had to be better than anybody else could do it, even it you had to animate
it nine times, as I once did.

More than eighty years after Mickey Mouse whistled and danced his way into
audiences hearts in Steamboat Willie, the artists at the Disney Studio continue to
explore and experiment , working to find the best way to present the story they re
telling. They may now use pencils or digital tablets, but the process remains the
same. Work and rework each image until its as perfect as it can be. then make
it better. The drawings in this collection offer readers who love the Disney films
insights into the process of the creation of their favorite characters.

Charles Solomon
Animation critic and historian
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A
DISNEY
SKETCHBOOK
Imagine if one sketchbook had been passed down through the
decades from one Disney animator to the next, with each one
making a contribution before leaving it in the talented hands
of another artist . That idea was the inspiration for A Disney
Sketchbook . The drawings contained within it represent the
entire range of animation development, from the origins of ideas
to fully conceived characters. Pencil studies of a much-younger
Wendy and a serpentlike sea witch reveal the many imaginative
iterations that animators create before they ultimately perfect
every hero and villain. And comprehensive studies of Mickey
and Baloo showcase the dedication that goes into defining the
facial expressions and body language of each beloved character.
Films and shorts from throughout the history of the company
—
are featured - beginning with Steamboat Willie and ending with

—
Tangled demonstrating the ingenuity and skill that have re-
mained a constant at Walt Disney Animation Studios since 1928.

EDITIONS
New York

The Official Disney Fan Club

mm
Disney.com/D23

1978 - 142316569 - 9

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