Waiting for a Cystoscopy

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I drove down to Orlando Health for a Cystoscopy which is an outpatient procedure where a camera is inserted up the penis to look at the prostate.

The drive down was quite pleasant with open country and many country cabins with metal roofs much like I have been searching for. I allowed for extra time since it was rush hour, but there was no rush hour on the roads I drove on.

In the waiting room there were a few other patients. I recognized their faces from the last time I had been to the office. The guy in the back row was always on the phone talking business. I was sitting on the opposites side of the room which was empty since the TV was above my head. A program was on about a young couple buying a home in Maui. They had to keep the budget under a million dollars. I felt bad for them having to settle for a place where the bedroom had a view of whales swimming buy. Maybe I should move to Maui, I bet no one has a swollen prostate there. No I don’t think it is in my budget, unless I find some wreck of a place on the rim of an active volcano. But think of the views before being burnt to a cinder. I did go to Maui during the making of Lilo and Stitch, and there are lovely homes with metal roofs and chickens in the yard.

A nurse came in and let us all know that there was a delay since a patient before us had complications. Dear god, what kind of complications? Was I about to experience similar complications? Should I sneak my way towards the door? The couple in front of me was called in first. They never returned. Then I was called in. It took me a while to pack up my art supplies. When I am in a nervous rush the supplies have a habit of refusing to go back in the bag. I eventually had to stand up with a paint rag dangling out of the mouth of the bag like a colorful tongue. I walked towards the nurse. I am sure everyone was thinking the same thing, “dead man walking.”

Todd Bright

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Pam Schwartz and I went to AIGA Orlando‘s October Community Meeting at Credo Conduit (1001 N Orange Ave Orlando, FL.) The invitation was open to everyone, AIGA members, non-members, designers, non-designers, and beyond. Merritt Andrews, a former co-worker at Disney Feature Animation, put the invitation up on Facebook and the evening featured another former Disney Animator Todd Bright.

Todd’s career in animation began at the Disney Animation Studios working on such films as The Hunchback of Notre Dame, Mulan, Tarzan, Lilo and Stitch, Brother Bear, and Curious George.

His experience and approach to storytelling, character development, and personality animation has brought to life projects for clients such as Walt Disney Imagineering, Warner Brothers, Universal Studios, Disney Parks and Resorts, Disney Junior, ESPN, Purina, EA Sports, Royal Caribbean Cruises, and Big Idea.

It was fascinating hearing Todd’s story of how hard he needed to work to get into the Disney Feature Animation Studio. After several years of Art School, his parents hit hard times and he was on his own. That didn’t stop his dream. He took drawing classes obsessively and got better at his craft. Applying to be an intern at Disney was its own story of setbacks and perseverance. He drew in public catching the little stories that happen every day around us if we only pay attention. When he referred to himself as the creepy guy in the corner sketching I had to chuckle. Besides commercial jobs he has taken to painting on location as well, fueling the inner artist. A playful animation he did of his pet pug wallowing in his food dish ended up getting him freelance work from Tom Bancroft another Former Disney Animator.

When Todd talked about the closing of the Florida Disney Feature Animation studio, he said it was like watching a family get torn apart. He thinks there is easily a feature film in that studios story. He talked about the chance he took when he entered the office of top animator Andreas Deja. He asked him for a shot at doing his rough in-betweens and after a test he was working with this top flight talent. As the studio was closing Todd was invited to the animators California home and at that party several of the 9 old men, legends of the early Disney animated feature years, were there. Ollie Johnson and Frank Thomas were there and another animator was playing piano. My heart hurt as I listened to the end of an era and the legends of the industry who are only known by those who know the hardship and struggle of mastering animation.

This was the most highly attended of AIGA’s meetings this year. Local students from UCF and other community colleges filled the quaint community space filled with quirky bungalows. There is clearly a hunger from this new generation of future animators for insights about the traditional days of hand drawn animation. Digital might be bright and shiny but traditional has depth and heart. On scene, “Bedtime Story” was cut from the final Lilo and Stitch Film. It demonstrated the heart that can be found in hand drawn animation. It hurt to discover it ended up on the editing room floor.

Todd did a great job inspiring these young new artists. He stressed the importance of feeding the artist soul while persevering in an industry that is small and demanding. Animation is challenging and can break your heart, but when a scene is working there is magic in the moment.

Magic Beyond the Mouse

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In
May of 1989, The Walt Disney Company added an
animation studio in Central Florida.  Spearheaded by animation industry
expert, Max Howard, the Florida studio grew from a crew of 40 to more
than 400 in the mid-90s, before closing in January 2004.

The studio was responsible for the box office hits: Mulan (1998), Lilo and Stitch (2002) and Brother Bear (2003) and contributed substantially to films such as, The Little Mermaid (1989), Rescuers Down Under (1990), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and many more, reinvigorating the animation industry and The Walt Disney Company.

The
artists and staff at the Florida studio fostered an atmosphere that
bottled a type of magic that is hard to put in words, but anyone
familiar with the facility can attest that working together, this team
created a family that no other Disney environment has.

I teach an Urban Sketching class at Elite Animation Academy (8933 Conroy Windermere Rd, Orlando, FL 32835). The primary goal of the class is to introduce young students to the idea of carrying a sketchbook everywhere they go. Elite was formed by a former Disney Feature Animation artist and its mission of delivering traditional and digital art courses remains true to this day. It is a place where students can build a portfolio of work should they choose to pursue a career in movie making or game design.

A few blocks away from Elite, is Art of Fitness (5154 Dr Phillips Blvd, Orlando, FL) which was also formed by a former Disney Feature Animation employee named Ron Beta. Ron decided to mount an exhibit by former Disney Artists showcasing their art since the Disney Feature Animation Studio closed in 2004. In 2004, the Orlando Disney Studio was  just starting production on a new project tentatively called My Peoples or A few Good Ghosts that was about a folk artist living in Appalachia that made puppets out of re purposed parts. For instance Abe Lincoln was made from an old broom. I was slated to do the key drawings for a villainous possum and I was gearing up to find the final look of the character.

I invited my Urban Sketch students to sketch the installation of the exhibit. In my sketch you can see a full wall of wildlife paintings by Aaron Blaise and some mermaid watercolor paintings by Ronnie Willford lined up at the base of the mirrored wall. I had simply framed one of my Urban Sketches to add to the show. In all, twenty one former Disney Artists exhibited work in the show. When the Disney Studio closed, these artists proved that there is magic and meaning to life after the Mouse. Hopefully my students took away the lesson that working for any particular a studio isn’t always the crowning moment of an art career. Every artist who remains curious is always evolving.

The Saint Regis Princeville Resort on Kauai has all the amenities,

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In contrast to the humble beach front Plantation cottages, Saint Regis Princeville Resort is plush and opulent. Located in the 9,000 acre resort community of Princeville at Hanalei,
this luxury resort on Kauai resides on the northern shore of the “Garden
Island” and provides visitors all the amenities expected from an island
destination considered to be one of the most spectacular in Hawaii.
Guests of our Kauai resort reside in a bastion of tropical
sophistication featuring cuisine that celebrates local flavors along
with an array of diverse activities. The site of the hotel was known as Pu’u Poa or Pu’u Pa’oa– Pu’u meaning
mountain and Pa’oa meaning the staff of the Fire Goddess, Pele who when
searching for a new home would strike her staff into the earth to
create a new crater. Directly below the hotel are remnants of an
ancient Hawaiian fishpond built in prehistoric time. Known as
Kamo’omaika’i it was one of the few kuapa (ocean wall) type fishponds on
Kauai.

The hotel was used in the filming of Jurassic Park, and I believe the lobby was inspiration for the scene in Lilo and Stitch in which Nani applied for a job while Stitch a used havoc trying to romance an elder tourist.

Terry relaxed in a lounge chair reading while I struggled to capture the sunset. Black volcanic rock dotted the shoreline. The gorgeous mountains turn mountains turned magnificent shades of purple and blue, as the clouds glowed orange. Every moment on this beautiful island begs to be captured. An artist would never fall short of subjects on this corner of paradise.

Waimea Plantation Cottages.

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My favorite place to stay in Kauai was at the humble Waimea Plantation Cottages (9400 Kaumualii Hwy, Waimea, HI) which were right on a black sand beach. These refurbished sugar-plantation cottages, which were originally built in the early 1900s, offer a relaxed setting, with tropical-inspired decor
and mahogany, rattan or wicker furnishings. All come with full kitchens,
cable TV, and free WiFi, plus private patios.

Roosters wandered around the property, and walking down the black sand beach feels like walking on another planet. Large black driftwood stumps offered a resting spot on the beach, to sit and soak in fabulous sunsets.  Each cottage has a kitchen, so this quickly felt like home. Set in a coconut grove, this makes a perfect place to set up a home camp on the island.

The cabins are weathered and worn, which I felt added to their local charm, so If you prefer opulent decor, then this might not be the place for you. In the evening, the soothing sound of the surf lulled me to sleep. Staying here of feel chance to slow down, and find some piece. 

When we got back to Orlando, production on the feature animate film, Lilo and Stitch began in earnest and the calming memories helped me crank out piles of drawings and deal with the overtime needed during the film’s crunch time.

Poipu Beach in Kauai.

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Legendary local artist Andrew Spear shared a drawing called “Breakfast in Maui” that was done on location this week in Maui. I was honored when he said he was channeling his inner Thomas Thorspecken. In Andrew’s honor, I am sharing sketches I did on a trip to Kauai just before production got started on the Disney Feature Animated film, “Lilo and Stitch.” I still cry tears of pride when I hear the Hawaiian music from the opening of the film.

As Terry and I relaxed in the shade on Poipu Beach in Kauai, we noticed a crowd gather. A harbor seal had made his way up on the beach to soak up the sun right along with the tourists. A life guard set up orange cones a round the seal and he stood guard to be sure the crowd kept at a proper distance. Children knelled and watched the sleeping seal intently. Poipu Beach was named America’s Best Beach by The Travel Channel, ranking top among the 10 “best” beaches selected nationwide.

This small island has to be one of the most beautiful place on earth. The locals are friendly and everyone seems so happy just to be alive. With so much change happening right now, it feels good to reflect back on a time when life seemed simpler, and life felt balanced.  

The goal isn’t to live forever, but to create something that will.

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In April of 2015 there was a reunion for the former Florida artists of Walt Disney Feature Animation. The reunion was held in an Elk Lodge down in Kissimmee. The Orlando, Florida based animation studio closed on Monday, January 12, 2004, putting
approximately 250 artists, technicians and other personnel out of work.
This followed the cancellation of the feature, A
Few Good Ghosts, which was being developed by the studio. Artists scattered to the wind but many, myself included, stayed since Orlando had become home.

At Disney I got to work side by side with many of the best artists in the world. The reunion was an incredible experience because so many of these artists had re-invented themselves. Aaron Blaise who co-directed Brother Bear, had worked on a digital feature film about elephants, but that studio closed down as well before the film was completed. He has since moved back to Central Florida and now instructs Creature Teacher courses online.  I’ve looked at several of his instructional videos and always pick up something new. He also had a successful Kickstarter campaign to raise money for another animated feature film called Art Story.

Christine Lawrence Finney, who had been the head of the clean-up animation department at the studio, gave me a warm hug and smiled as she said “I thought you would have changed the world by now.”  She had an amazing gift for making people around her want to live up to their full potential. Her eternal smile reminded me of all the things the were great about working at Disney Feature Animation, a sense of family, friends and pride in making some amazing films.

On a table in the front of the room were seven photos of Disney artists who had passed away. One was Kevin Proctor who had been in my intern group when we first started at the studio. He went into the layout department which drew the backgrounds for the films. At lunch time I would often sneak in a sketch of my co-workers, and I caught a sketch of Kevin as he worked on a drawing of Lilo’s kitchen for the film Lilo and Stitch. Pres Romanillos had been the lead animator for Shan Yu in Mulan. Christine was the lead of the team of clean up animation artists who created the final drawings that went up on the big screen for this character. As she said “Drawing in his shadow was one of the highlights of my Disney career! He
was extraordinary!! His passion was contagious…forever an inspiration.”

I danced for one song at the reunion, but spent most of my time in the back room finding out what artists were doing now as well as adding a sketch to a memorial book that was for Bob’s family. Christine and her husband Trey were now accomplished plein air painters. Photos were layered thick on tables and we could dig through to find the memories of a crew of artists who took pride in their work and knew how to celebrate as well.

Bob Walker who had co-directed Brother Bear with Aaron Blaise had passed away unexpectedly just before the reunion. Aaron related a story about the day Bob had been given a computer at Disney. Bob had a large stack of papers next to the computer, and he called Aaron in to ask a question. He pointed at the stack of papers and said,  ” How do I get this in there?” Laura Ashborne Sacks said a few words in Bod’s memory, her voice cracked as she looked back, “The goal isn’t to live forever, but to
create something that will. Everyone in this
room should be proud of the work we created.” This heart felt sentiment got me choked up as well. I will always miss the intense collaboration with incredible artists but know that those films we created will live on for generations.

That brings me to the reason I started writing this article. Christine Lawrence Finney passed away suddenly on January 5, 2016. She was just 47 years old. I honestly can’t wrap my head around this. She was so vibrant at the reunion. She was such a joy to work for.  Terry remembered that when we moved to Orlando, we were invited to a Disney artist party in Winter Park and to this day she remembers how warm and welcoming Christine was. Photos of Christine keep getting posted online and each heightens the loss of an incredible artist and a shining personality. On the evening after I heard the news, I had to host an event called Orlando Drink and Draw. I had more wine than I should have to numb the thoughts in the back of my mind, and on the dive home, I cried for the first time when American Pie by Don McLean played on the radio.  In my inebriated state, the song encapsulated my sense of loss. “Something touched me deep inside the day the music died.” I pulled off the road to sing along, calm down, and sober up. The title of this site, Analog Artist Digital World, hints at the idea that traditional hand drawn animation might die because of the advent of computer animation. Christine’s death makes me feel that the magic of hand drawn animation might indeed become a lost art.  She inspired so many of us to push ourselves. Perhaps creating is the only way to eventually come to terms with the loss.

Christine always paid tribute to the special people in her life, “To all my family, friends, mentors, and supporters thanks for the safety net! You
teach me how to fly.” She taught everyone she met how to fly as well.

Soar on. Christine.

The Secret of Nimh

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On the last day of the 2D Animation class at Full Sail each month, Kathy Blackmore lets the students vote on an animated movie to watch. Before they voted, students asked the instructors about their experiences in the animation business. One student asked, “What was a highlight or defining moment in your career?” I described the day when I found out I was accepted into the Disney internship. “This might be way before your time, but it was a Mary Tyler Moore moment. I danced in the streets of NYC and threw my cap in the air!” Kathy described the pride she took in one particular Stitch scene where she did every drawing herself. Alex Kupersmidt the lead animator paused for the longest time when he looked at it. Such a pause usually meant he was contemplating a change or fix to the animation. He said, “It’s perfect.” He then turned and walked away. Such praise from an animation legend isn’t often offered.

The class had a split vote between Secret of Nimh and Lilo and Stitch. Dan Reibold really wanted to see the Secret of Nimh since he hadn’t seen it in a long time. Kathy’s heart warming stories about working on Stitch might just throw the voting in favor of the Disney film. Dan decided to pick up the Nimh DVD case and he made up a story about how this movie was the reason he wanted to become an animator. The students didn’t buy his story, they laughed. Kathy decided to show the movie to keep Dan from crying. Some students continued to work on their animation flip books as the movie played. This has to be the best animated feature Don Bluth produced. It is a classic.