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Creating The Walt Disney Classics Collection
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Creating The
Walt
Disney Classics Collection |
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The Walt Disney
Classics Collection started with a challenge: "Translate beloved
Disney film characters from two-dimensional drawings to
three-dimensional sculptures, capturing their personalities and
ephemeral quality of life". Only The Walt Disney Studios had the
full understanding of Disney films and characters and the variety of
resources necessary to meet the challenge. Every step taken in the
creation of a sculpture - from the initial choice of characters, to
the final title - is made with the ultimate goal of meeting that
challenge.
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Before the first
sculpting tool is picked up, Disney artists view videotapes to
choose the film characters and scenes which will awaken old memories
and spark new ones as animation sculptures. Then, the artists
examine original film references, including sketches, maquettes,
production drawings, video prints from the original film and painted
cells. Now, the artists may draw concept sketches to convey the
characters' most definitive poses and expressions or solve special
problems with odd angles or size relationships. |
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Hundreds of original
drawings made for each character and scene are then researched as a
reference. These rough study sketches, finished drawings and
beautiful, painted cels provide valuable information about how the
character's physical characteristics and personalities are shown in
two dimensions. What gesture of expression communicates Cinderella's
sense of humor or Mickey's flirty sauciness? What tilt of the head
tells us immediately that shy little Flower is tickled pink with his
new name?
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Concept sketches detailing hundreds of
poses and expressions are drawn to find the perfect combination of
emotion and story. These drawings, plus the
original reference materials and video go to the sculptor, who make
rough preliminary versions to establish the character's line of
action and proportions. Becoming the animators' hands, the sculptor
refines the piece until it captures the character's physical look,
movement, personality, and emotion. At every stage, animators advise
and critique the work. |
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Size relationships that were not a problem
in the two-dimensional film suddenly need rethinking when translated
to three dimensions. As well as drawings, miniature plaster
and cardboard models are used to determine these relationships so
that the figures work well together. Jack Skellington and Dr.
Finklestein must look right when side by side. And even Cinderella's
dress needs to be proportioned correctly so that her tiny animal
friends look just right as they pose on it.
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Animation sculptures capture the fluidity
of movement and ephemeral emotion of two-dimensional animated
characters and scenes. But the transition from on-screen movement to
the stillness of porcelain is challenging. As final drawings
progress to initial sculptures, Disney animators continue to make
suggestions to improve composition, structure, and emotional impact.
With their input, Thumper's cheeks puff up more when he smiles,
making his eyes crinkle a bit - and suddenly - you can almost hear
him giggle!
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Once the original model is approved, multiple resin
duplicates are cast. Some duplicates will be used to create
porcelain production molds; others are saved for comparing to the
final porcelain sculpture. Dedicated artisans with generations of
experience first cut one resin into separate pieces to make plaster
molds. Next, liquid
porcelain, called "slip", is poured into the molds and allowed to
partially air dry. Artisans remove the air-dried pieces or "greenware"
and reassemble the pieces by hand, using fine calibrating tools,
jigs, and supports. Sculptures are checked against duplicate resins
to ensure an exact match to the originals. |
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Now the prototypes travel to the production
studio where artists experiment with ways to translate cold-paint
animation colors into lustrous fired ceramic colors. These artisans
paint the sculptures using original animation paint formulas and
color model sheets from the film to ensure complete fidelity to the
original film colors. They must also find ways to suggest textures,
painted effects, and finishes
Adapting the rich, original animation colors for the demands of
ceramic painting gives them opportunities for special effects and
textures that the animation paintings could only hint at.
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Different
ceramic colors require different firing temperatures, and because
pieces have a variety of finishes and textures - they go through
multiple paintings and firings. Sometimes five or six trips to the
kiln are required. Through the entire painting process the
Disney animators guide the color choices. Upon their advice, Bambi acquires
another coat of paint, and more white space in the eyes to heighten
his expression. Slightly darkened brows, a delicate addition of
color to the eye lashes, and a blushing tint below the cheekbones light up
his face. |
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To sustain the "illusion of life", other
materials are added. When painted porcelain bubbles seem too heavy
in Cinderella's hand, blown glass replaces them. The shining stars
on Sorcerer Mickey's hat are crafted in platinum to mirror the gleam
in his eye! The painted, fired prototype is approved when the
artists have captured this elusive "illusion of life" so perfectly
you can almost hear Ariel singing and see Peter Pan Flying. At last,
the piece is done, and in some ways, the entire process has brought
each character even closer to Walt's original vision of complete
believability. For here they are - Cinderella, Belle, Mickey, and
Donald...looking as if they had paused in mid-movement on the
screen. |
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The Walt Disney Classics Collection
backstamp, featuring a reproduction of Walt Disney's actual
signature, is fired into place. A Certificate of Authenticity signed
by Roy E. Disney, for The Walt Disney Studios, promises that each
signature has been created using the same exacting animation
principles and painstaking standards that Walt Disney himself
applied to each frame of every classic animated film.
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