THE ART ISSUE
ATTRACTION
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editor letter his year has been extra, extra tough to find time for my design baby, AEI. But, I finally got around to creating another issue between designing and concepting the Oscars campaign, working on numerous freelancing branding projects, and exploring my new hobby-turned-skill: illustration. It’s almost been a soul searching year for me. A year of figuring out where I want to take my career next and what areas of design I’m really passionate about. Besides illustration, I’m in love with consumer products, event planning, and all aspects of photography. I’m learning that I don’t have to stick with one area of focus; that illustration and products go well together, and that photography can mix with any other area of design. It’s freeing to think that I don’t have to limit myself to “editorial designer” or “UX designer”. I’m a designer of all things. Through the discovery of my love for illustration, I was inspired to create an art issue of AEI. Originally, the next issue planned was to be a Guy Issue, with special emphasis on Tarzan, The Lion King, and more. But, as life goes, things came up, my path changed, and a new door opened. Thus, the Art Issue. (Don’t worry, I’m still planning on doing a Guy Issue, just wait on it). I’m extremely inspired and influenced by the talented concept artists at Walt Disney Animation (as well as Pixar, let’s be real). So I hope their influence can be found throughout the pages of this issue. I even included some of my favorites in the Vintage Mickey: Feature section. My good friend, Marisa, has also proven to be an amazing artist (although I knew this from our childhood). We could both be found at the dining room table drawing fictional
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characters (mine were angels) and creating our own sequels to Harry Potter (Marisa was Jamie Potter and I was Artemis Granger obviously). Future bright stars if you ask me. In the following pages, you can also find a personal project I started while I was still in school that I uncovered in my longlost archive of creativity. I call the series Blurred Fairy Tales, as I take a line from the Disney film and cover the character’s eyes with it. Out of context, the quote seems to have a different meaning. One of my newest projects combines Disney characters with celebrities based on their names (for example, Katy Perry combined with Perry the Platypus). I used a fashion illustration style with a graphic touch so it can be found in the Vintage Mickey: Style section. Hopefully this issue doesn’t come across as “me, me, me” but it was originally intended to be a magazine-style portfolio that experimented with layout design, typography, and my personal photography all in one centralized location. I still include my photography, design, and typography but hope that this can inspire others who are feeling a little lost, burnt out, or blocked. Start a 30 day challenge, look for inspiration in crazy places, and keep art-ing. So take a look through the Art Issue, learn about my favorite artists, and create something beautiful!
EDITOR IN CHIEF
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EDITOR LETTER
34
MARY BLAIR
38
CINDERELLA
08
MASTHEAD
10
CONTRIBUTORS
12
VINTAGE MICKEY
28
HEY MICKEY
3-2 PETER PAN
44
COMICS
46 JOY 52
LOOK AHEAD
EDITOR IN CHIEF HAILEY NOWAK
VM Travel THE LAIST VM Food LUNCHBOXDAD.COM//SAMANTHA LEE//ERIN JANG VM Style HAILEY NOWAK VM Feature VARIOUS ARTISTS VM Attraction YESTERLAND//HAILEY NOWAK
HEY MICKEY
PLAGIARISMTODAY.COM LIANA HEE INSIDEOUTHEADQUARTERS.TUMBLR.COM Peter Pan J M BARRIE//MARISA MERCURIO
MARY BLAIR
Graphic Design HAILEY NOWAK Interviewer GWYNNED VITELLO Art Historian JOHN CANEMAKER Source JUXTAPOZ MAGAZINE//D23
CINDERELLA
Photography HAILEY NOWAK Model KATHARINE JOHNSON Comic Strip COMIC ART FANS
JOY
Photography HAILEY NOWAK Model AVERY CANTY Disneyland Photography HAILEY NOWAK Graphic Design HAILEY NOWAK
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contributors marisa mercurio
Marisa is currently a writer for a local newspaper in Ohio in the process of applying to grad school all while finding time to take on art commissions. Marisa hope to one day live in a quaint little cottage in Northern England where her only means of transportation is a blue Vespa. Marisa contributed the beautiful Peter Pan illustration for this issue of AEI. u
hannah nowak
Hannah has a list of talents as long as her legs from modeling to surfing to running to fashion. This young passionate soul hopes to one day work as an Imagineer for Disney. Hannah is not only the sister of the creator of AEI but the youngest contributor, a senior at San Clemente High School. Not only did Hannah help produce the identity of the magazine but her influence is also seen throughout the pages. u
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TRAVEL
hobbit home FOR THIS EDITION OF VM TRAVEL, YOU DON’T HAVE TO GO ANY FARTHER THAN HOUSE HUNTING IN LA.
Hobbit Houses, like “galley kitchens, vertical-grain boat plank flooring, and built-in furniture with hardware made from boat latches.”
AND, ALTHOUGH THIS HOBBIT HOLE IS NOT QUITE A DISNEY DESTINATION, IT WAS CREATED BY A DISNEY ARTIST. SO THAT COUNTS, RIGHT?
You, too, can pretend to live like Bilbo Baggins, but in a big city instead of the Shire! A one-bedroom home endearingly dubbed the “Hobbit House” in Culver City recently went on the rental market for $1,695 a month. This whimsical, Storybook cottage located in downtown Culver City is one of a series of adorable Hobbit holes created by former Walt Disney Studios artist Joseph Lawrence. He redesigned a single-family residence into several units, according to the LA Conservancy. Lawrence would complete construction on his “Hobbit Houses” in 1970, but he would still add finishing touches on them until 1991. LA Conservancy noted that Lawrence was also a sailor and incorporated nautical touches in his
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The homes are so popular that there is even a Yelp page reviewing the site. In case you’re wondering, it averaged a four-star rating out of 10 reviews that
mostly talked about people visiting the home (but don’t worry, just from the outside). While there are Hobbit-likes homes everywhere in the world, these Storybook cottages were a thing in L.A. in the 1920s. Sadly, many have since been destroyed. The L.A. Times reports that “mock thatched roof and heavy rolled eaves, half-timbering and leaded glass windows, is a classic example of Storybook style, a whimsical type of architecture that emerged in Los Angeles with the burgeoning movie industry in the 1920s.” “Storybook houses are an outgrowth of the blurred line of fantasy and reality that is particular to Los Angeles,” Trudi Sandmeier, a preservationist at the Los Angeles Conservancy, told the Times. • from the laist
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play
FOOD
with your food
Beau Coffron | lunchboxdad.com
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I
t’s finally time to take “eye candy” to the next level. We found some of the cutest food art based off of Disney characters and took note. Aren’t you so glad these talented people share their skills with us everyday? I hope it inspires you to take a little more time when presenting meals to your loved ones and maybe to create some Disney food art for yourself !
Samantha Lee | @leesamantha
Erin Jang | @theindigobunting
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STYLE
Once upon a time, I combined my two favorite icons (Mickey Mouse and Nicki Minaj) to create something magicallyunique: Micki Minaj. I loved the idea so much that I decided to turn it into a series. Each of the following are a combination of iconic stars and their Disney pairing. Enjoy! from cocharacters.tumblr.com
Amy Poppins Amy Adams + Mary Poppins
Scar Johansson Scarlett Johansson + Scar
Lumiere del Ray Lana del Ray + Lumiere
Queen Babette Beyonce + Babette
co-characters: celebrity edition 16 | ALL EARS IN
Katy
Ka
Jessica Rabbit Jessica Alba + Jessica Rabbit
Emma and the Stone Emma Stone + Wart
Angelina de Vil Angelina Jolie + Cruella de Vil
Do you have a favorite from this exploration? Do you have any suggestions for me? I would love to hear from you! Feel free to email me.... nowakhailey@gmail.com
y Perry the Platypus
aty Perry + Perry the Platypus
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FEATURE
T
o become an expert at something, you have to practice. But in order to practice something, you must be inspired. The following pages feature a few of the most talented illustrators in the field (and of course, either work directly with Disney or are heavily influenced by Disney concept artists). Enjoy!
JOLLY HOLIDAY WITH MARY “Illustration of one of my favorite movies of all time, Mary Poppins, in her carousel horse race.� Ann Shen is an illustrator, letterer, and graphic designer of magical things based in Los Angeles, CA. After graduating from Art Center College of Design, Ann worked for various design and toy companies before striking it out on her own. Her whimsical, colorful work has been featured in a number of publications, products, theme parks, and galleries around the world. from ann-shen.com 18 | ALL EARS IN
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ATTRACTION FEATURE
RAPUNZEL WITH A TWIST “I’m super happy with how each piece turned out and that each character has managed to stay themselves despite being thrown into new surroundings and costumes. (My inner feminist wouldn’t allow Merida or Mulan to have their weapons taken away lol) Pocahontas still loves animals, Cinderella is still dressing tiny creatures, Tiana is cooking, and Belle fell asleep reading!” Dylan Bonner is a recent grad of the Ringling College of Art and Design from Grand Rapids, MI. from dylanbonner.tumblr.com
THE ENCHANTING GISELLE Pernille Ørum is a(n) Visual Developer/illustrator, currently located in Copenhagen, Denmark, with a bachelor degree in Character Animation from The Animation Workshop, Denmark who is always looking for the next challenge. from www.pernilleoe.dk 20 | ALL EARS IN
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FEATURE
VANITY Liana Hee is a Bay Area native currently living and working as a designer at an animaiton studio in Los Angeles, CA. Liana imbues her whimsical characters with rich colors and lovable personalities. Her favorite medium to work with is gouache on watercolor paper and she also loves finding any excuse to add sparkles and shimmer to anything she touches. She is very passionate about sharing her work with others and is constantly striving to better her craft. Liana is currently working on a few personal illustrated book projects, one of them being a little book that showcases a collection of her favorite, original mini paintings. from lianahee.blogspot.com
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WHAT’S A FIRE? “I was asked to create some new artwork to be released at the [Wonderground Gallery] event, and while I had quite a few initial ideas, top priority went to this young lady. Have I mentioned that I’m a fan? No? Huh. Well, I am. It may be to the point of unhealthy obsession, but I try to channel that energy in the most productive ways possible. Thus, very large paper-cut artworks are born. This piece is titled What’s a Fire?, and stands at about 36 x 16 inches, making it one of the larges pieces I have worked on in some time. I fear that I may sound like a broken record for those of you who have been around for a while, but Part of Your World was my introduction to pure magic, and remains the standard that I compare all movie moments to. I could go on and on about why it is just perfection, but the bottom line is that it makes me feel. And I love that.” Brittney Lee is a visual development artist at Walt Disney Animation Studios and has worked on films such as Wreck-It Ralph and Frozen. She is well known for her dimensional paper sculpture illustrations and her illustrations in a few Disney Golden books. from britsketch.blogspot.com
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ATTRACTION
story book land
Walt Disney wanted Canal Boats of the World to be patterned after Madurodam in the Netherlands, an attraction which had opened in 1952 with miniature Dutch landmarks viewed from small boats. Walt planned to give his guests an international tour. uu
Canal Boats of the World opened without scenery. With Disneyland construction severely over budget, the miniatures would have to wait. Until then, the boats themselves would have to be the attraction. Guests did not have to wait long. Now guests would get a world tour—a Eurocentric world tour—using miniatures based on settings from some of Walt Disney’s animated features and shorts: England, home of Mr. Toad and Alice; Germany, home of Snow White; France, home of Cinderella; the Italian Alps, home of Pinocchio; and Holland, home of the windmills from The Old Mill. from Yesterland
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Hey Mickey is going to be a little bit different for this issue because I’ve been very curious with my own questions about all of the regulations that surround that world of fan art. So the following is a combination of a Plagiarism Today article, FAQ from Liana Hee, and an actual artwork guideline from Disney (relating to Inside Out).
So why has fan art thrived? The reason is actually fairly simple.
How do I navigate the world of fan art? Is fan art plagiarism?
In fact, some feel these fan communities actually serve a valuable service to copyright holders by providing a thriving site for fans to visit, keeping them entertained and engage between official releases. In short, since fan creations don’t take away sales of the original work, they are often seen as free promotion and a way to grow the brand without cost or effort.
Very few copyright issues are as divisive or as headacheinducing as fan creations. Whether it is fan fiction for a popular fantasy series or fan art of a popular movie, these creations almost instantly walk into a copyright mess that can be enough to make even the boldest attorney cringe. Yet, fan fiction and fan art both remain wildly popular and widely tolerated on the Web. There are large communities dedicated to, such as Harry Potter fan fiction, even after Rowling successfully sues another fan creation in court. So, while an entire blog could be dedicated to the top of fan creations in copyright, we’re going to take a brief look at the issue and try to understand where we sit on the issue today. What the Law Says According to copyright law, copyright holders have the sole right to distribute derivative works based on an original creation. This includes sequels and any other work that includes copyrightable elements from the original creation. As was confirmed in the recent “Catcher in the Rye” case, characters can be granted copyright protection as can many other non-expression elements of the original work. This is furthered that most fan creations are built upon plot elements and other copyrightable parts of the original material. That being said, fair use may protect some fan creations from being an infringement, but that is handled on a case-by-case basis, looking at the facts of the actual work. However, most fan creations, by their very nature, don’t parody or criticize the source material, which would provide a great deal of protection, nor are they highly transformative, meaning that they are less likely to win in the even that such a suit takes place. It is also worth noting that fan fiction and fan art can be a trademark violation as well, especially if it uses names and titles in a way that causes confusion as to whether they are official. Trademark disputes over fan creations are rare, but still possible. Yet, despite a relatively strong legal position, lawsuits over fan fiction and fan art are extremely rare. This is especially odd considering that many of the rightsholders who are the most common target of fan creations are also among those most aggressive at stopping other infringement of their work.
Speaking the Unspoken Rule From a copyright holder viewpoint, fan fiction and art is usually not very harmful. Fans create works that are openly recognized to be non-canon to the story and are not replacements for the original.
The bigger issue, however, is the cost of going to war with fans. Being litigious with creators of fan art can be very costly, not just in terms of court costs, but in terms of backlash. No creator wants to sue their fans, especially when the fans aren’t earning revenue, and as such most creators will tolerate fan fiction and art under most circumstances. Some even go as far as to create fan site kits, for the purpose of aiding the creation of fan Web sites. This includes Blizzard with World of Warcraft. Fan fiction and fan art communities, in turn, usually have a set of rules that they follow to preserve their symbiotic relationship. First, they agree to not profit from or sell copies of their creations. Though some of the communities run ads to cover hosting costs, most do not turn any profit and the individual authors never sell their works. Second, they always proclaim that their work is unofficial and has no connection with the creators. Finally, they respond to requests from the copyright holder to remove content and work with the creator as needed. In short, the community works to ensure they don’t hurt the original creator’s ability to profit from the work and the creator tolerates what is technically a copyright infringement in many cases. Everyone seems to be happy though, on rare occasions, the system can break down. Problems with the System Though any unspoken and unsigned agreement can break down for a number of reasons, on matters of fan creations, there are typically two causes. Aggressive Creators: Some creators, such as Anne Rice, have been very aggressive about shutting down fan fiction sites. Fan Art/Fiction Creators Who Cross Lines: Also, some fan creators, either misunderstanding copyright law or feeling they have been given permission, cross the lines and either try to sell copies of the works they create or otherwise
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commercially exploit them. Some also try to claim the fan works to be original works, often by merely changing names around. These are the cases that result in conflict between authors and fan fiction/art communities. The Harry Potter Lexicon case is an excellent example of a fan crossing one of the lines as the Lexicon had been a free site for many years, welltolerated by Rowling, and it was only when a book was to be made for sale that the issue became a legal one. Granted, not every fan artist who sells copies of works is pursued, Magic the Gathering, for example, seems to have many artists that sell fan art of the cards but Wizards of the Coast, the makers of the game, don’t seem to actively be pursuing (at least not that I’ve heard). Still, that is the most common tipping point between when a fan creation goes from being a “tolerated infringement” to a legal matter. That being said though, every creator has right to make the choice for themselves where they want the line drawn and to enforce that line as they see fit, an important thing to remember when dealing with fan fiction and fan art. Staying Safe If you’re interested in creating fan fiction or fan art, here are a few quick things I would say to do to make sure you don’t find yourself in a copyright or trademark conflict. Check the Rules: Look for the rules of whatever you’re a fan of. Fan art and fan fiction communities often have guidelines and some authors have made public statements on the issue. Do some research before creating and uploading. Make it Clearly Unofficial: Have clear statements on your site that your site and your work is not an official site and is just a fan creation. Though it may not help with an actual trademark or copyright dispute, it shows good faith and encourages rightsholders to work with you. Be Non-Commercial: This is an element of the unspoken rule, but try to be completely non-commercial with your works, no selling copies, no sponsorships, no advertisements. Be Careful with Domains: Be mindful that your domain can become a trademark issue if it leads others to think that you might be an official site. Make it clear with your domain that it is a fan creation. Comply with Requests: If the creator or an agent on their behalf makes a request of you, obey it. If it’s a polite request, complying helps avoid a less-than-polite request later and builds a good rapport. If it is a more stern one, it is even more important to comply. By no means do these steps prevent fan fiction and fan art from being a technical infringement, but they may help your use of the content be considered a tolerated and even respected use of the source material.
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Bottom Line The key point to remember is this: Fan fiction and fan art are, usually, an infringement of the right of the copyright holder to prepare and license derivative works based on the original. This is almost without exception. However, many copyright holders, for good reasons, tolerate fan art and even encourage it, but this should not be taken as carte blanche to do what you want with the source material. There are many lines that a fan artist can cross and wind up in legal trouble. Your best bet is to study the rules for your community and obey them closely. If you do that, you should be fine but always remember that your creations only exist through the good graces of the copyright holder and they can change their mind at any point. If you’re not comfortable with that, then you’re better off creating your own, wholly original work. Not only do you not have the threat of being shut down hanging over you, but you also have the right to exploit the works however you see fit. • from Plagiarism Today
How did you get to do work for the Disney Wonderground Gallery? Did you submit your artwork to be considered? LIANA HEE: I was exhibiting at a comic convention (Comikaze to be exact) and one of the Disney gallery events managers picked up my business card. She contacted me several weeks later and asked if I would be interested in doing Disney inspired characters in my style for the gallery. Disney will handpick who they would like to have and there are no open submissions. • from lianahee.tumblr.com
What are the regulations for fan art submissions to Disney? WDSHE grants you a limited, nonexclusive,non-transferable license to create the Artwork using Disney IP for the purposes of this promotion only. No other rights in or to Disney’s IP are granted hereunder. • one snippet from insideoutheadquarters.tumblr.com and their artwork guidelines
EXCE RPT FROM
by J. M. Barrie
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I
f you shut your eyes and are a lucky one, you may see at times a shapeless pool of lovely pale colours suspended in the darkness; then if you squeeze your eyes tighter, the pool begins to take shape, and the colours become so vivid that with another squeeze they must go on fire. But just before they go on fire you see the lagoon. This is the nearest you ever get to it on the mainland, just one heavenly moment; if there could be two moments you might see the surf and hear the mermaids singing. The children often spent long summer days on this lagoon, swimming or floating most of the time, playing the mermaid games in the water, and so forth. You must not think from this that the mermaids were on friendly terms with them: on the contrary, it was among Wendy’s lasting regrets that all the time she was on the island she never had a civil word from one of them. When she stole softly to the edge of the lagoon she might see them by the score, especially on Marooners’ Rock, where they loved to bask, combing out their hair in a lazy way that quite irritated her; or she might even swim, on tiptoe as it were, to within a yard of them, but then they saw her and dived, probably splashing her with their tails, not by accident, but intentionally.
It must also have been rather pretty to see the children resting on a rock for half an hour after their mid-day meal. Wendy insisted on their doing this, and it had to be a real rest even though the meal was make-believe. So they lay there in the sun, and their bodies glistened in it, while she sat beside them and looked important. It was one such day, and they were all on Marooners’ Rock. The rock was not much larger than their great bed, but of course they all knew how not to take up much room, and they were dozing, or at least lying with their eyes shut, and pinching occasionally when they thought Wendy was not looking. She was very busy, stitching. While she stitched a change came to the lagoon. Little shivers ran over it, and the sun went away and shadows stole across the water, turning it cold. Wendy could no longer see to thread her needle, and when she looked up, the lagoon that had always hitherto been such a laughing place seemed formidable and unfriendly. It was not, she knew, that night had come, but something as dark as night had come. No, worse than that. It had not come, but it had sent that shiver through the sea to say that it was coming. What was it?
They treated all the boys in the same way, except of course Peter, who chatted with them on Marooners’ Rock by the hour, and sat on their tails when they got cheeky. He gave Wendy one of their combs.
There crowded upon her all the stories she had been told of Marooners’ Rock, so called because evil captains put sailors on it and leave them there to drown. They drown when the tide rises, for then it is submerged.
The most haunting time at which to see them is at the turn of the moon, when they utter strange wailing cries; but the lagoon is dangerous for mortals then, and until the evening of which we have now to tell, Wendy had never seen the lagoon by moonlight, less from fear, for of course Peter would have accompanied her, than because she had strict rules about every one being in bed by seven. She was often at the lagoon, however, on sunny days after rain, when the mermaids come up in extraordinary numbers to play with their bubbles. The bubbles of many colours made in rainbow water they treat as balls, hitting them gaily from one to another with their tails, and trying to keep them in the rainbow till they burst. The goals are at each end of the rainbow, and the keepers only are allowed to use their hands. Sometimes a dozen of these games will be going on in the lagoon at a time, and it is quite a pretty sight.
Of course she should have roused the children at once; not merely because of the unknown that was stalking toward them, but because it was no longer good for them to sleep on a rock grown chilly. But she was a young mother and she did not know this; she thought you simply must stick to your rule about half an hour after the midday meal. So, though fear was upon her, and she longed to hear male voices, she would not waken them. Even when she heard the sound of muffled oars, though her heart was in her mouth, she did not waken them. She stood over them to let them have their sleep out. Was it not brave of Wendy? It was well for those boys then that there was one among them who could sniff danger even in his sleep. Peter sprang erect, as wide awake at once as a dog, and with one warning cry he roused the others. He stood motionless, one hand to his ear.
But the moment the children tried to join in they had to play by themselves, for the mermaids immediately disappeared. Nevertheless we have proof that they secretly watched the interlopers, and were not above taking an idea from them; for John introduced a new way of hitting the bubble, with the head instead of the hand, and the mermaids adopted it. This is the one mark that John has left on the Neverland.
“Pirates!” he cried. The others came closer to him. A strange smile was playing about his face, and Wendy saw it and shuddered. While that smile was on his face no one dared address him; all they could do was to stand ready to obey. The order came sharp and incisive. “Dive!” •
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From Cinderella, Peter Pan, Alice in Wonderland, and the development of the visual identity of Disneyland (it’s a small world, especially), Mary Blair is one of the most iconic artists from the classic Disney era. Art historian John Canemaker gives us a curatorial tour of last year’s exhibition of her work at the Walt Disney Family Museum.
Gwynned Vitello: How did the museum come up with the idea of The Art and Flair of Mary Blair? John Canemaker: The idea for the exhibition came from Diane Disney Miller, who contacted me to curate the show, as Mary was said to be one of Walt Disney’s favorite studio artists. In the family home in Los Angeles, very few artworks from Disney films were displayed, but among those were paintings by Blair, from Alice in Wonderland and Saludos Amigos, and they are in the exhibition. For The Walt Disney Family Museum collection, Diane acquired a large number of Mary Blair conceptual artworks made for films such as Peter Pan and Cinderella, but for this show, she wanted to expand the scope to include Blair’s pre- and post-Disney career. I contacted a number of private collectors to make the show as comprehensive as possible Coming from a small town in Oklahoma and raised in what was agricultural Morgan Hill, where did she acquire her modern sensibility? She discovered a wide world of art history when she became a student at the Chouinard Art Institute in Los Angeles where a number of her teachers were familiar with modern art. Lawrence Murphy, for example, the master composition teacher, had been a personal friend of Albert Pinkham Ryder, and had met Matisse and Picasso at Gertrude Stein’s apartment in Paris. How did her work change after studying with David Alfaro Siqueiros? In 1932, Mary’s future husband, Lee Blair, along with other Chouinard students, assisted Siqueiros in the painting of his mural, Street Meeting, on the school’s building on 8th Street near Westlake (now MacArthur) Park. Mary was not one of the assistants, but the stylization of the Mexican master’s work had an impact. She was highly sensitive to designs in the popular culture, and that same year, won a national design contest sponsored by the Cannon Mills Company with an elegant graphic of an Art Deco horse and stars, which anticipates the stylization and unusual color of her later work. How did Pruett Carter influence her? Pruett Carter, Chouinard’s Director of Illustration, was one of America’s best magazine illustrators and became Mary’s most influential mentor, both at Chouinard and afterward when she studied with him privately. He taught her to stage imagery as narrative, to evoke an emotional response in viewers, and so, inspired her first ambition to become an illustrator. In the Chouinard school catalog, Carter wrote: “ ...the illustrator may be likened to the director of a motion picture, or a stage play. He must know his characters—their emotions and desires— must set the stage, and direct the arrangement, and action and conflict of drama. He must live the part of each actor, must do the scenery, design the costumes, and handle the lighting effects. His illustration must be deeper than a poster—for he must make his characters live and breathe and react to each other—as the author intended… But, before he can do this, an illustrator must be thoroughly trained in drawing, composition, and design, so that he can devote his enthusiastic interest on directing the theatre of the illustration… an endless opportunity for the inventive and theatrical talents of the artist.” What was the mission of the Chouinard School of Art? Nelbert Murphy Chouinard founded the prestigious Chouinard Art Institute in 1921 “to meet the necessity for an institution which should contribute basically to the development of our national art.” Over the years, many graduates attained renown in both the fine and applied arts, including Ed Ruscha, Edith Head, Don
Bachardy, Millard Sheets, Chuck Jones, Gyo Fujikawa, Bonnie Cashin, Robert Williams and numerous Disney alumnae. In 1961, under the guidance of Walt and Roy Disney, the school merged with the Los Angeles Conservatory of Music to become the California Institute of the Arts. Mrs. Chouinard hired instructors for “competence in technical and aesthetic knowledge,” and also “spiritual leadership.” Can you give any details about the Disney artists’ fabled trip to South America—places they visited, aspects of the countries that were particularly inspiring? In August 1941, Mary and Lee became part of a select group of studio artists and writers who Walt Disney chose to travel with him on a trip sponsored by the US government. President Roosevelt’s Good Neighbor policy was devised to encourage goodwill between the Americas, and halt the spread of Nazi and Fascist sentiment in Latin America, as well as foster new markets for both hemispheres. Walt and his “El Grupo,” as they were nicknamed, were to research and gather pictorial and story material for entertainment and informational features in Brazil, Argentina, Peru, Ecuador, Guatemala, Chile, and Mexico. During this trip, Mary’s multiple artistic gifts coalesced into the vibrant and colorful style for which she is known. It was an unexpected creative detonation that greatly influenced future Disney films and theme park attractions, profoundly affecting her life and career. Mary Blair translated her feelings into amazingly vital and exciting pictures, a heightened stylization, both modernist and primitive at the same time. She also brought awareness of the potential for animation and cinematic staging within painted scenes, such as the busy marketplace at Chichicastanango, the floating gardens of Xochimilco, fishermen and boatmen navigating Lake Titicaca, musicians, basket-on-the-head flower sellers, llamas and oxen bearing burdens, as well as children and dancers in traditional costumes, who found their way into on-site paintings in glorious high-key color. Do you know anything about Blair’s experience in the male-dominated studio? There was always a disconnection between what Mary Blair painted in her concepts and what appeared in the final film. The animators in particular found it difficult to reconcile her stylized designs with the “illusion of life” Disney house-style of believability that was expected. Because Walt was not able to explain how that might happen, it led to misunderstandings and frustration among the production crews. “All the men that were there, their design was based on perspective,” master animator, Marc Davis said. “Mary did things on marvelous flat planes. Walt appreciated and wanted to see this, but not being an artist himself, though continually supportive, was never able to instruct the men on how to use this… It was tragic because she did things that were so marvelous and never got on the screen.” However, she didn’t let that stop her from using her watercolor skills combined with that bolder, brighter graphic style to explore other arenas. The watercolor skills gave her a grounding and a discipline in knowing how to use her art materials, sometimes combining a watercolor background with opaque gouache, maybe adding pastels, or using a black background. In some works like “Small World,” which she designed from the conceptual art to the colors and characters, she explored collage. This show has over 200 pieces, including work from her student days and solo gallery exhibits in the ‘30s, to original illustrations from her Golden Book period in the ‘50s, fashion designs and personal objects and drawings she gave to members of her family, as well as large scale murals of the 1960s and ‘70s. Moving to the historic town of Soquel, California, she went on to make what she called “semi-dimensional paintings.” from Juxtapoz.com by Gwynned Vitello
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Now that we know all we need to know about the Walt Disney Family Museum exhibition, we need to learn a little more about Mary Blair herself... An imaginative color stylist and designer, Mary Blair helped introduce modern art to Walt Disney and his Studio, and, for nearly 30 years, he touted her inspirational work for his films and theme parks alike. Animator Marc Davis, who put Mary’s exciting use of color on par with Matisse, recalled, “She brought modern art to Walt in a way that no one else did. He was so excited about her work.” Animator Frank Thomas added:
“Mary was the first artist I knew of to have different shades of red next to each other. You just didn’t do that! But Mary made it work.” Walt connected with Mary’s fresh, childlike art style. As Disney Imagineering artist Roland Crump once told animation historian John Canemaker, “The way she painted—in a lot of ways she was still a little girl. Walt was like that… You could see he could relate to children—she was the same way.” Born in McAlester, Oklahoma, in 1911, the inherently gifted artist won a scholarship to Chouinard Art Institute in Los Angeles. After graduation in
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1933, at the height of the Depression, Mary took a job in the animation unit of Metro-Goldwyn-Mayer rather than pursue her dream of a fine arts career. In 1940, she joined the Walt Disney Studio and worked on a number of projects, including the “Baby Ballet,” a never-produced segment for a proposed second version of Fantasia. In 1941, she joined the Disney expedition that toured South America for three months; her watercolors so captured the spirit of the Latin countries that she was named art supervisor on The Three Caballeros and Saludos Amigos. Mary’s unique color and styling greatly influenced such Disney postwar productions as Song of the South, Make Mine Music, Melody Time, So Dear to My Heart, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, and Peter Pan. She also contributed to special shorts, including The Little House and Susie, the Little Blue Coupe. During a break from Disney, Mary found a successful career as a freelance graphic designer and illustrator. Among her works were the illustrations for several Little Golden Books, some of which, including I Can Fly, are still in print today. Walt later asked Mary to assist in the design of the it’s a small world attraction for the 1964-65 New York World’s Fair; the final result was an attraction that is purely Mary Blair in its style and concept. Over the years, Mary contributed to the design of many exhibits, attractions, and murals for the theme parks in California and Florida, including the fanciful murals in the Grand Canyon Concourse at Walt Disney World’s Contemporary Resort Hotel. Mary Blair passed away on July 26, 1978, in Soquel, California. • from D23
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PHOTOGRAPHY BY HAILEY NOWAK
A modern twist on the classic Cinderella story takes place at the beautiful Saddleback Church at Rancho Capistrano in Southern California. This look is perfect for Disneybounding this spring!
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PHOTOGRAPHY BY HAILEY NOWAK Bring a little sunshine into your life this spring! Forget about blues and sadness, put on your reflective Ray Bans, and get your tan on. We traveled around Southern California for this shoot to show you that joy can be the emotion that controls you if you allow it. Have you seen Inside Out? ‘Cause you definitely should. uu
Teapot $65 at Teavana Crop Top $30 at Brandy Melville High-waisted Pants $60 at Urban Outfitters
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THE BLOG I’ve got to be honest guys, this project started because of my deep interest in lifestyle, fashion, design, and, most of all, editorial. BUT, I’ve found that most of the articles I choose from should have a link that leads directly to the source. I no longer want to be bound by a print layout, especially since I’m using this as a digital platform. So, after much consideration, I’ve decided to turn AEI into a blog. I think that AEI would be much better served with weekly posts that still include the same favorites (Vintage Mickey, Hey Mickey, a fairy tale snippet, and my very special contributors) but allow for new favorites (like personal illustrations). The new format will have monthly or bi-monthly themes and will allow for more content to be thrown at you and for me to get a better understanding of what works well and what doesn’t. I still love editorial design but believe that this structure doesn’t work for AEI anymore. I’m excited for this next adventure and hope you are, too!
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