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Covered Soot Drawing Covered Soot Drawing

drawn on the layout it was an old pot, rusty and partially covered with soot from years of cooking. Cy felt that light from the flames would be reflected evenly over the whole pot; Ugo claimed that the light would be only on the portions not covered by the soot, since soot has no reflective power. Each man was adamant, and. since there was only one way of proving who was right, a fire was built in an empty film can in the middle of the floor, with the shade from a goose-neck lamp inverted over it as the pot. Soon the flames were dancing merrily.

While everyone else was screaming, "Put that fire out!" the discussion grew into an argument. The whole surface of the lampshade was indeed bathed in glowing light as the flames enveloped it, but there was no soot on it—as yet. People were running about, and excited protests were now coming from far down the hall, but still the two animators fanned the flames earnestly— their faces right down at the floor—and studied the curved bottom of the shade.

The linoleum had begun to curl on the floor before a brigade of Dixie cups could be organized to douse the flames and send the frustrated effects animators back to their desks—with the point still unproved. Maybe it was inconsequential anyway and hardly worth considering, but that intensity of feeling and the driving desire for knowledge were typical of their approach to assignments.

By 1935, new men were coming into the Effects

Department in a steady stream, and most of them wert full of ideas. One of these was Josh Meador. a newcomer with an unusual combination of talents. Youts and individualistic, Josh was an excellent draftsnut painter, designer, and he possessed great technical it: ity as well. By the end of Pinocchio in 1939. hehai taken over the department, and for Fantasia, onlyil year later, he had well over a hundred men and won« turning out the most impressive effects animationeva seen. One of them said, "Josh was continually shood live action and experimenting with the stuff—wais and smoke and all those things. He was really ven thorough with his research work. He didn't jus! si down and animate water, he went out and shot so« I water, then took it home and studied it. In ihox days you did that—you went home and practiced drawing."3

Some things just could not be drawn in pencil lins wind, fog, drizzling mist, a thick cloud of dust. aaJ almost all kinds of snow. Blaine Gibson, animator^ sculptor, who was in the Effects Department for rrar-ly ten years said. "It is quite a challenge to do southing like that: when you put a line around something even though you only give it a partial exposure, rir away it's something that's different than what it is!" That fact did not stop Josh.

The next storm, he was out with his cameras shooth the marvels of nature against a black background, and before that winter was over he had a whole library c(

Disney Animation Background DrawingsDisney Animation Background DrawingsDisney Animation Background Drawings

Inspirational sketches often set the design for animating water. It was up to the effects animators to determine how to handle these ingredients to get the desired effect.

animator: Josh Meador—Alice in Wonderland.

The story sketch of Alice floating in the bottle shows a very simple design for the water effect, but in the actual scene this was not enough. The sea was so vast. it was impossible to tell how large Alice was or how far away she might be. The addition of large bubbles gave the needed scale to keep her very small.

animator: Josh Meador—Alice in Wonderland.

Three leaders of the Effects Department study bubbling mud in a Studio vat. From left. Jack Boyd. Josh Meador. and Dan Mac-Man us.

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Freehand Sketching An Introduction

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