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sequence of the mice and the girl dow n in the cave with only a tiny lantern would have been an ideal place for shadows to augment the suspense and the drama of the situation, but since the sequence was frightening enough the way it was the decision was animator Cy Young— "Nutcracker Suite. " Fantasia.

Only an extremely sensitive artist could have animated this sensuous, white blossom that became a mirling ballerina.

made to leave off the shadows and paint the w alls dark and wet instead. The shoes and feet of the characters were painted dark also, so they would be almost a part of the background, giving the feeling that they were already in shadow .

Through the early thirties, the entire Effects Department consisted of only two men: Ugo D'Orsi. a straightforward, stubborn, and dedicated Italian, and Cy Young, a quiet and sensitive but equally stubborn Chinese, who loved to play the bass fiddle as a hobby. Both spoke w ith such accents that most of the staff had difficulty understanding what they were saying, and communication between the two was almost impossible. especially when tempers flared. Since they did most of the careful work themselves, thev needed only

a single assistant between them, and a major part of his job was to act as interpreter, diplomatic emissary, and peacemaker. Still, few animators have surpassed the delightful results that these two men slowly and delicately achieved w ith their innate sense of design in motion.

Who can ever forget the lovely white blossom-ballerina in Fantasia floating gracefully to a caressing landing on the surface of the water, only to be reborn and rise up inverted, swirling and spinning as she danced off with her colorful companions? That was Cy Young at his best Rarely could others create such poetry and sensuality in a mere blossom's falling into a pond.

Ugo showed more intensity and force in his work, but was equally sensitive to the total design. Typical of his drawings were the crashing waves that heeded Mickey's commands in the dream sequence of "The Sorcerer's Apprentice." The director of the picture commented on "the amazing patience and tenacity |Ugo) displayed in doing the filigree waves and foam ... he 'pioneered' those . . . patterns practically out of his imagination, long before the help of research photography."2

Both Cy and Ugo were determined to get realism into their work and studied constantly to increase their understanding. One day they were discussing a scene involving a witch's kettle bubbling over a fire. As

llent turns a texts" scene of wave into a work of art.

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