3/18/2024 0 Comments Snow white poison apple anime gifThis helped to make the Evil Queen one of the most difficult and complex characters, painting wise, that the studio’s Color Model department had developed. The color model department determined that the Queen’s collar should be painted with a paint that created a satin effect, while her robe would be painted to create a velvet effect. The women in the studio’s paint lab developed a variety of paints that appeared to create different textures when painted on celluloid. For the first time ever in an animated film the textures of paints became almost as important as the color. This would contrast from the sweet floral pastels of Snow White. For the Evil Queen, the colour model department chose a pallet of dark colors reminiscebt of decay, greens, blacks, browns, purples, and blues. Walt also felt that too bright colours would cheapen the picture, and take away from the moving storybook vision he had for Snow White. It became the Color Model department’s job to choose the right subdued colors for each character to fulfill Walt’s vision while still making each character seem distinct from one another. To prevent this, a wide range of subdued and earthy tones were used through out the film. These color models would insure consistency in the film’s characters, even when the character was painted by nearly 100 different painters.Īs the Disney’s first feature length animated film, color became an especially important concern on Snow White and the Seven Dwarfs. Many of the film’s naysayers thought that the bright colors of an animated cartoon would cause too much eyestrain in a full length feature. This color model would list all of the new slightly different tones of paint that would be used to paint the character in the scene. Should a character need to appear in a specific form of lighting in the film, for example the Evil Queen in her dark dungeon, a separate color model sheet for the character in this scene would be made and sent out to the artists. This sheet would then be mimeographed and sent to all of the artists who worked with that particular character. Any special painting techniques that were to be used would also be labelled on the color model sheet. Colored pencils would then be used to give the basic idea of what colors the character was to be painted in, but each color would also be labelled with the specific color name or number to be used. They would draw the character in pencil, making zoomed in views of various details when necessary. When the final combination was determined, the artists would create a color model like this on a sheet of paper. They would Ink & Paint various test color combinations on animation cells to determine which ccombinations would work best on the screen. They would determine what colours would be used to paint the characters, backgrounds, and props used in each scene of the film, basing their choices on the mood of the scene and various other elements of the narrative. The woman in the Color Model department were some of the most important women in the studio in the 1930s. To help me explain the incredible contributions made to animated films by the women of this department, I have this wonderful original color model of the Evil Queen from Snow White and the Seven Dwarfs. So I thought I’d tell you all about one of the more easy to understand topics discussed in the book, the Color Model department, a female dominated off-shoot of the Ink& Paint department. It’s a very interesting and in-depth look at animation history, but it’s definitely not a book I’d recommend for novices not fully acquainted with the art and science of hand-drawn animation. It specifically focuses on the work of the Studio’s Ink & Paint department, the only department at the studio wholly dominated by women, but also covers the accomplishments of women in other departments, like the story art department or the background art department. It’s all about the many contributions to Walt Disney animation made by women from the earliest days of the “Disney Brothers Studio” up until the early 2000s when the studio’s hand drawn animation output dwindled. Lately I’ve been reading a fascinating book called Ink & Paint: The Woman of Walt Disney Animation by Mindy Johnson.
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