I've been studying Disney animators from the 30s as of late (Ub Iwerks, Fred Moore, Bill Tytla). It's one of those oddities where I'm discovering more of my cartooning roots after the fact, by looking at their drawings and thinking to myself, "Wait a minute, I kind of draw like that." The characters in their drawings are prime examples of construction, expression, and line that really appeal to me. The Fleischer style has been on my radar since college, but not until recently have I been delving into the early Disney artists.
Today I was flipping through Treasures of Disney Animation Art , a huge book my parents got me when I was 12 or so. It was weird—like I discovered Goofy again for the first time. I find his design very appealing...more complex than Mickey and the like which is probably why he appeared later. Goofy is definitely one of the stranger Disney creations, especially in his original form before he got more polished up (I'm a fan of the purple shiny-eyelid Goofy). So, I've been hitting the sketchbook.
Above is a study of a drawing by clean-up artist Dick Huemer from Lonesome Ghosts (1937). The construction of his face appears complex at first glance, but it can be broken down into simple organic shapes that wrap around each other.
And here, a study of a drawing by clean-up artist Art Babbit from Moving Day (1936). I love how low his head droops in this moment of the walk cycle. This is trademark Goofy—there's tons of personality conveyed in just this one drawing.
I recently borrowed a DVD from a from a friend that featured all sorts of Ub Iwerks cartoons. I'm drawn to the simplicity of his characters, because they also have a ton of personality. Below are some drawings I did of freeze frames from Ali Baba (1936).
This character is so rubbery and loose, packed with energy and movement. I especially like how Ub draws hands—big and bendy.
And finally, below are some original characters I drew with the same non-photo blue pencil. This charming specimen of a woman:
And a possible suitor?
1 month ago