Drawing in 3D - anno 1949

I was wondering what Paul Satterfield had been doing after he left Disney. He was not involved in the infamous strike of 1941, and information is scarce at best:

Paul McKinley Satterfield was born 3/27/1896 and died 8/14/1981.
Alberto Becattini had this info for Paul Satterfield:
Animator: CARLSON 19-21 (The Gumps 20-21); DISNEY c36-38 (Mickey Mouse 38, Silly Symphony 38-39 [Farmyard Symphony 38, The Ugly Duckling 39], Donald Duck 39)
Sequence Director: DISNEY c38-41 (Fantasia 40, Bambi 42)

Thus I was very surprised to find at a paper show recently a set of cards dated 1949 with 3D drawings on them that show they were made by P & C Satterfield. Am I right in deducing that this "P" may be said Paul Satterfield?

The sets include five whole series and two incomplete ones. Some (like the one above) are very cartoony, others are more realistic Lone Ranger-type sets. If there is more interest among you, I may scan a few more...

Technically, note that these are not the cross-eyed type: the left image is for the left eye, the right for the right eye. Thus, if you size them so the images are no more than the difference between your eyes apart, you should be able to see the depth (with some practice). You can also use your old stereo viewer. You DO have one, don't you? Else, I have made a version that can be seen cross-eyed, here:It tends to be easier to see stereo images cross-eyed, as it does not strain the eyes in the same way and the distance between the images can be larger than the standard "about 2.5 inches" which means that you can see larger images. In the image just above I switched the left and right eye images, so the left eye sees the right image.

With a little training you can get the left and right-eye images to coincide, and the brain will take over and show you the depth information. Here is how you can train this: put your finger at the bottom edge right in between the two images you want to see as a 3D image. Slowly move it straight towards your nose, and keep looking the tip of it with both eyes. In the mean time still take note of the images that start to come together just above your finger. When it is about halfway in between the screen or paper and your face, the images should coincide. At this point, concentrate on the images, and have your brain place them perfectly over each other. Your brain should take over here, and show you the image in 3D.

Of course this works only for cross-eyed 3D images. For the other type your finger should move away, possibly to infinity, or even just split up, and this is not at all practical. Yet even many of this type of images can be seen in 3D with practice, if you teach yourself to look "through" the image into the space behind it. The advantage of this is the size of the resulting image, it will seem closer by. On the other hand, the distance between the images should as a rule not be larger than the distance between the centers of your pupils, which is rather an obvious limitation. Many older stereopticon images are a little further apart, and the glasses in the viewer make up for this increased distance. Obviously, cross-eyed viewing is much easier to train.

It is actually quite helpful to train this, as you can find more 3D images on the web that work this way. Also, for those of you making 3D CGI, placing two images next to each other this way makes it possible to see them in 3D without glasses (and without their inherent loss of light and color!) Some programs that present 3D video from two separate sources let you view the images side-by-side, and cross-eyed you can often see any mistakes more clearly than using 3D glasses. I used this on our own "Olsen Gang Gets Polished" feature, which four of us made into a 3D presentation in about four months, two years back.

It is to me pretty amazing just how much work the brain does to get the 3D to work. A few years back I was fortunate to attend the 3D Festival in Hollywood, where all the known 3D films from before the recent revival of the medium were shown, and I noticed that taking my glasses off showed me two weaving images moving in any direction constantly. With the glasses, the 3D image was rock steady. I speculate that it is all this correcting by the brain that for some people leads to headaches.

Prod. UM12 - Ye Olden Days

Directed by Burt Gillett, music by Frank Churchill.
Released thru United Artists on 4/8/33.

Sadly the first page is missing on my copy, but what is left shows us the following animators: Ben Sharpsteen (supervising Art Babbitt, Marvin Woodward, Ham Luske, Johnny Cannon and probably more), Norm Ferguson, Dick Lundy, Les Clark, Tom Palmer and Jack King.

Sharpsteen was in charge of the up-and-coming animators in this period, which is why so many scenes bear his name. As an example, scene 21 has only his name indicated, but we have seen recently that it was animated by Ed Love. Only with access to more documents like this animation layout can we find the actual credits for Ben's scenes. [Addition:] Seconds ago I was thumbing through the Layout & Background book in the Archives series, and here I see that scene 11 is by "Ben/[Harry ]Reeves, while the layout for scene 33B has "Ben/[Jack ]Kinney" written on it!

Prod. 2011 - The Fabulous Mr. Toad (XVII) - Seq. 19.6 - Ending - Seq. 03.0 Sec.B

Seq. 19.6 - Directed by Jack Kinney, layout by Al Zinnen. Animation by Harvey Toombs, Clair Weeks, Henry Tanous and Jack Boyd.

Seq. 03.0 Sec "B" - Directed by Special Process (Ub Iwerks' dept.), layout by John Hench. This sequence ends the Toad draft, which continues into the (separate) Ichabod draft.

These Final draft pages are dated 5/12/49.

This is the end of this film. Remember what I wrote about the historical value of these documents in my "Standard Disclaimer!"
Still, they give a great insight into the film. I wish they started to make a separately super-imposable subtitle track for the DVD and Blu-Ray editions. I guess that the Powers That Be do not see any financial benefit in it, but I should also never say never...

Back soon with more interesting stuff!

Prod. 2011 - The Fabulous Mr. Toad (XVI) - Seq. 19.5 - Fight (part 2)

Continued from yesterday:(Directed by Jack Kinney, layout by Al Zinnen.
This Final draft is dated 5/11/49.)

More Reitherman, Sibley and Lusk...

Prod. 2011 - The Fabulous Mr. Toad (XV) - Seq. 19.5 - Fight (part 1)

Directed by Jack Kinney, layout by Al Zinnen.
This Final draft is dated 5/11/49.

Animation by Murray McClellan, Henrey Tanous, John Sibley, Woolie Reitherman, Hal King, Harvey Toombs, Don Lusk and Ed Aardal.

Ever in need of material to post, and with very little time on my hands, I split this sequence up in two parts, and leave the commenting to you!

Icons of Animation Auction (VI)

Here is another contender for my favorite item at tomorrow's big animation art auction:502. ORIGINAL CONCEPT ARTWORK BY DAVID HALL OF CROCODILE SNIFFING CAPTAIN HOOK’S CIGARS FROM PETER PAN. (Walt Disney Studios, 1953) Original concept artwork by master concept artist David Hall accomplished in watercolors over ink and dry-brush on a leaf of illustration board measuring approx. 9 ½ in. x 12 in. featuring a crocodile in a swamp sniffing two of Captain Hook’s disposed cigars. Conceived, executed and signed by David Hall in 1939, fourteen years prior to the eventual release of the Disney film. This painting was reproduced in the February 1999 issue of Walt Disney’s Uncle Scrooge in a story titled “The Year that was 1939, David Hall Revisited.” From the collection of Bruce Hamilton.
$6,000 – $8,000 [Did not sell.]

Now, you'll ask, "What is that crocodile crockery on the right? He certainly isn't part of the auction!" Here is a revelation that I was witness to recently: David Hall's great crocodile painting MUST have been the model for the croc bank on the right, which was produced in at least four different color schemes as merchandise for the 1967 musical The Happiest Millionaire! Again I say: how great is that?
Look at that happy smiling expression, and the direction of his eyes! Anybody looking for a painting to give as present for my 50th birthday in two weeks, here it is...

Oh, and his name is George!

Remember, if you are not bidding, get the catalog while you can!

Prod. 2011 - The Fabulous Mr. Toad (XIV) - Seq. 16.1 - Secret Tunnel

Directed by Jack Kinney, layout by Charles Philippi and Al Zinnen.
This Final draft is dated 5/11/49.

Character animation by Marc Davis, effect animation by Jack Boyd.
A whole sequence of over 40 scenes by Davis!

Icons of Animation Auction (V)

One of my absolute favorite items in Saturday's auction!

272. ORIGINAL PAINTED WOOD MICKEY MOUSE THAT HUNG ON WALT’S PERSONAL 1963 GRUMMAN G-159 GULFSTREAM I AIRPLANE. Original hand-painted Mickey Mouse, doffing his cap and wearing pilot’s attire. This unique sign was mounted on the retractable stairs of Walt Disney’ personal airplane, a 1963 Grumman G-159 Gulfstream. Walt Disney and his Imagineers used this place to scout out the location for Walt Disney World in Florida. The sign is constructed of wood with a tail of rubber, completely hand-painted and detailed. It measures 22 in. tall x 21 in. wide. The “welcome aboard” portion of the sign is no longer present, exhibits slight scuffing and wear; otherwise, remarkable condition. A wonderful piece of Disneyana, certainly one of the most unique items ever to come up for auction. $6,000 – $8,000 [Did not sell.]

How cool is that??? The Gulfstream was later also used to fly entertainers like Fulton Burley around the States to different promotional venues, then was repainted and re-upholstered during the 90's, and now is retired and rests in Walt Disney World as prop on the back lot tour through Disney's Hollywood Studios.
At least it was there in November 2008.Ever the tourist...

Prod. 2011 - The Fabulous Mr. Toad (XIII) - Seq. 15.0 - Christmas at Rat's House

Directed by Jack Kinney, layout by Charles Philippi.
This Final draft is dated 5/10/49.

Animation by Don Lusk (most of the sequence), Hal King (both drew Toad, Rat and Mole) and Hugh Fraser (weasels and Winkey), and one scene each by Clair Weeks, Marc Davis (really?) and Bob Youngquist.

Icons of Animation Auction (IV)

Here are a few more interesting items from Saturday's auction.
Pressed for time, I'll let the descriptions speak for themselves. Some very interesting and fun items that I show here only as a sampling of what the auction has in store. If you SHOULD feel the need of bidding and donating these to me, I will not say you nay! (As if...)

First, an animation layout that shows the scene is credited to Ben/Love, in other words animated by Ed Love under Ben Sharpsteen's supervision. As we have seen on early drafts on this blog, Ben Sharpsteen was put in charge of new talents, so the credit Ben/[New Guy] is very common in this period.298. YE OLDEN DAYS ORIGINAL PAN PRODUCTION LAYOUT. (Walt Disney Studios, 1933) Original pan production layout drawing featuring a castle wall and turret from Ye Olden Days. Accomplished in pencil and red crayon with blue pencil images of Mickey Mouse to show his movement on the background. Image measures 8 in. x 15 ¾ in. on a 10 in. x 16 in. leaf of illustration paper. Numerous hand-
written production notations in the lower margin. $1,000 – $1,500 [Did not sell.]

Then we have an early Carl Barks!
I have seen this one before, but I don't remember where.
A companion piece can be seen in Funnyworld #16.318. ORIGINAL CARL BARKS ARTWORK SUBMITTED TO WALT DISNEY STUDIOS WHILE APPLYING FOR A JOB AS ANIMATOR. In 1935 when applying for a job at Walt Disney Studios, Carl Barks submitted four original pieces of artwork to show his artistic ability. After Disney received the art, Barks was hired. The artwork pictured above is one of the four pieces submitted by Barks to Disney and is his take on Snow White and the Seven Dwarfs. Along the bottom of the piece is Carl’s Minneapolis address and on the verso of the art is a handwritten note from Carl (done many years later), that reads, “This drawing, submitted to Disney’s in 1935, helped get me hired,” and is signed “Carl Barks.” Indeed, after submitting this in November, 1935, Barks was hired, and he moved to Los Angeles to begin his long association with Disney. An amazing and incredibly rare item! The art has an image area of approximately 12 ¼ in. x 9 ¼, and has been drawn in ink, graphite, and pale blue wash. The art is in Excellent condition. An incredible opportunity to acquire a true piece a Disney history! $10,000 – $15,000 [Did not sell.]

Finally Nine Old Signatures:220. WALT DISNEY: THE ART OF ANIMATION SIGNED BY WALT DISNEY, DISNEY’S “NINE OLD MEN” AND OTHER ANIMATORS. Walt Disney – The Artof Animation: The story of the Disney Studio contribution to a new art. By Bob Thomas with the Walt Disney staff, with research by Don Graham. Golden Press, Inc., New York, (1958). Quarto. Pictorial paper covered boards. Signed by Walt Disney in black ink on the verso of the front free endpaper.
Also signed by Disney’s “Nine Old Men” including John Lounsbery, Les Clark, Eric Larson (twice), Marc Davis, Ollie Johnston, Wolfgang Reitherman, Milt Kahl, Frank Thomas and Ward Kimball. Additionally signed by Ken Anderson, Don DaGradi, Bill Peet, Joe Rinaldi, Tom Oreb, Xavier Atencio, Bill Justice, Ernest Nordli, Don Griffith, Tom Codrick, Gerry Geronimi, and Mac Stewart. A very handsome book with only slight rubbing along lower board edges. Hinges remain sound. Dust jacket exhibits typical delamination commonly found with small chips at flap folds and spine panel ends. Very Good. $4,000 – $6,000

I fixed some spelling mistakes in names. But hey - Tom Oreb? Ernie Nordli? MacLaren Stewart? Haven't seen their signatures a lot. Oh, yeah - it was signed by Walt, as well...

Prod. 2011 - The Fabulous Mr. Toad (XII) - Seq. 19.4 - Train

Directed by Jack Kinney, layout by Lance Nolley.
This draft named Revised Final is dated 5/19/49.

Character animation by Ward kimball and Harvey Toombs, while Ed Aardal, Jack Boyd and George Rowley animated effects (if, in the case of Rowley, Toads hand can be called an effect).

Of course we find Ward Kimball at the train sequence! Could this be called autoanimagraphical? The attribution is by no means unexpected on stylistic grounds either, as his drive to do things differently leaves us with some rather typically wild animation, like the cops shooting.

Icons of Animation Auction (III)

More fun stuff from Saturday's auction!

Number 529 is a very special item.
529. WALT DISNEY SCRIPT AND THREE PAUL BUNYAN DRAWINGS. (Walt Disney Studios, 1958) Very unusual collection of three concept drawings for Paul Bunyan along with the transcript of the story meeting with Walt Disney at which these were drawn. Walt would call together his key story men when working out a production, and during this meeting they would discuss the story and work out some design. The extremely rare transcript gives us a look into the great deal of influence and input that Walt Disney had in his productions.
A unique collection. $2,000 – $3,000 [Did not sell.]

I have the good fortune to have been allowed to present a few pages to you, so here are the first five (of eleven) of the transcript of 11/5/46 (and not 1958):It is always wonderful to read story notes: you get a good sense of how the films were put together, and especially how HUGE a driving force Walt Disney himself was at these meetings. He pushes for personality and pathos, but also for getting the story structure right, while the others in the meeting are just trying to keep up! A fun fact about this item: I happen to know this set just ends with "'j" and WE, blog readers, know who that is! Secretary Jane (presumably) Sinclair.

There are, as stated above, also three sheets of drawings included. Here is a close-up of part of one of them.Not quite what he ended up looking like, huh?
This early version was obviously to be directed by Jack Kinney, probably using the same crew as Mr. Toad. But it ended up, twelve years later, directed by Les Clark and designed by Tom Oreb and Eyvind Earle, with story by Lance Nolley (we met him before as layout arist) and Ted Berman, very much a different film.