Disney Feature Animation Reunion

Posted on by Thor

The Disney Feature Animation Alum held a reunion In Orlando Florida on March 8, 2026. I drove Stella Arbelaéz and James Paris to the hotel in my Prius. It has been 22 years since the Florida Studio closed its doors, ending a long tradition of hand drawn animation. When we entered the hotel, the open lobby area was packed full of familiar faces. Large tables were set up with bites and there was a table for drinks. We had some free drink tickets and I decided to have a Coke so that I was flitting about like a Humming Bird.

Every time I turned around, I saw someone I had not seen in decades. There was a large screen set up which showed photos of life in the animation studio from years ago. I know now that what I really wanted to see was all the art that had been created by these amazing artists since the Disney Feature Animation Studio closed. I didn’t need to look back. I wanted to look forward.

I knew what James Paris had worked on since we had talked extensively at Stella’s studio, but for most folks I met at the reunion, I could only get an abbreviated elevator pitch of what they were working on. Being a visual artist, I wanted to see it all. I had been in talks with the Museum director at the Orange County History Center about having tables set up at the museum so that former Disney artists could showcase and sell their recent art work the day before or after the reunion. That idea fell through when the director got another job in NYC. I had just returned from 3 months in Europe where I had sketched the 70 or so cities that my father’s 75th Infantry Division had helped liberate in WWII so I found myself repeating that story often.

Kevin Deters had flown in from California. He had stayed with Disney and went on to direct Prep and Landing which was an animated short about elves helping Santa land his sleigh. Aaron Blaise has gone on to produce direct and animate his own short film called Snow Bear and he founded Creature Teacher which has taken off as an online an in-person way to encourage the next generation of animation artists. Xiangyuan (Jay) Jie had helped set the style of the gorgeous painterly backgrounds for Brother Bear. I admired his work on that film so much, and I got to paint beside him in the after-hours painting sessions with models. Jie speaks best through paint since he still isn’t fluent in speaking English. He spoke with me and his wife helped translate. He had images on his iPhone he wanted to show me. He had an amazing sketch of me from one of those after-hours paint sessions. I looked so focused in his sketch. He said there were images I should see on the big screen as well but there were so many pictures that I could not wait for the reel to make its way around again. I was quickly drawn into another conversation.

Laurie Ashborne had a cameraman set up in the corner of the venue. She was asking each artist a few questions about their memories of the studio. This is what I decided to sketch quickly. While working on this sketch I was approached and I was amazed that someone was very familiar with my work. There was some honest reverence in the way my work was acknowledged. I don’t experience that very often. It was heartwarming. With the sketch finished I went and stood in line to offer Laurie my quick answers to her questions. It was a fun interview. I hope a sound bite makes it into her documentary about the Florida Feature Animation Studio.

The whole evening was such a whirlwind. It was like trying to digest hundreds of stories of artistic growth in just a few hours. Bill Silvers has made a career of doing large Disney character themed paintings that are sold at Disney Village. Ginger Wolf gave me her card. She has also become a painter. Former animator, Trey Finney lost his wife Christine Lawrence Finney who was my supervisor at Disney. They had both become painters after leaving Disney. She had a warm heart and was delightful to work for. Christine gave me the opportunity to supervise the final clean up on the director’s cut of Pocahontas. Scenes were added which had been left out of the original film. The largest scene was a love song (If I Never Knew You) sung by John Smith when he was being held captive and Pocahontas gently placed her head on his chest while he sang. The camera rotated  around the couple as he sang, making it a mechanically challenging scene to work on. I worked out long timing charts to keep the even timing of the rotation consistent. I was proud of the result. It was so rare to have complete control of both lead characters in a scene.

I was amazed by so many of the artists I got to meet again. The Disney Feature Animation Studio had truly been like catching lightning in a bottle. All that talent spread out across the country after the studio was shuddered in 2004, but I decided to stay and make my mark right here in Orlando.

Stella, James and I met near the hotel reception and made out way out to the parking lot. Good-byes lasted for at least an hour. It was a shame to leave, but we had an exciting ride back sharing stories of who we had caught up with.  The following morning, the main shooting would begin on James Paris’s short film. We all needed our rest. The caffeine had worn off, and I collapsed in my Air B&B and instantly fell asleep. As always I was an outsider looking in, even in my dreams.

Procrasticare Day 1

Posted on by Thor

The Disney Feature Animation Alum held a reunion In Orlando Florida on March 8, 2026. Former Disney artists from all over the country flew into Orlando for the one-night reunion.

James Paris was working at Disney Feature Animation when I first began doing drawings for the feature film Pocahontas. Animation in those days was done with pencil and paper. I worked in what was known as the “Fishbowl” where a glass wall allowed Hollywood Studio theme park tourists the chance to see the Disney magic firsthand. Little did they know that they had to watch the new kid on the block. My first desk was right against the glass and James had a more private cubicle inside the room, maybe 20 feet from the wall of curious by passers.

My first Feature Animation Clean up drawings were for what is called slow ins. That is where the drawings get closer and closer together until the lines literally touch and overlap. It was grueling line between line work, yet I found it relaxing. The challenge was to keep these in-betweens just as aesthetically pleasing as the Key Drawings which the animator did to show the extremes of an action. James would clean up those Key drawings and then he needed to be sure my drawing matched the line quality and aesthetic of his drawings.

I was assigned to the Powhattan unit and James was put in charge of checking my drawings. Powhattan was the father of Pocahontas, and he had stoic and controlled movements. All that slow movement required 12 to 24 drawings per second which kept me quite busy. At first all the tourists watching me draw was distracting but with so many drawings to do I soon forgot they were there, looking over my shoulder through the thick glass wall.

James was meticulous in checking my drawings, at times completely redrawing an in-between. I adopted the same level of methodical control as I moved up the ladder and began checking the work of other artists. I liked this check in process since it was a chance to get away from the drawing desk and interact with another artist. I probably learned quite a bit watching James rework my drawings.

To justify the expense of flying to Orlando from Las Angeles California, James decided he would shoot a live action short at Stella Arbelaéz’s home studio. He story boarded the whole film in LA and had a shot list prepared so that he knew exactly what needed to be shot each day. Most of the shooting would be done on the day after the Feature Animation Reunion which was March 7, 2026. James arrived at Stella’s on March 7 and had all the movie lighting and equipment delivered to her place in the morning. That night before we all drove to the reunion, he had much of the equipment set up and he just wanted to capture a few shots of Stella’s hand painting on the canvas.

The story of Procristicare is straight forward. Stella is on her couch scrolling and looking at social media posts. She is not creating. Time is being lost. She sees an online add for Procrasticare and is curious. She signed up for the service. Almost immediately a young woman showed up at her front door and announced that she is with Procrasticare. Stella was holding her phone when she opened the door and when the Procrasticare worker saw the phone, she grabbed it and ran. She rode away on a bicycle. I had just tuned up that bicycle, fixing a flat and getting the brakes aligned, and I put a phone holder on the handle bars. I am glad the bike got some screen time.

I drew Stella and James twice in my sketch. James spent a long time getting familiar with the camera and the motion stabilizer set up. While he was working out that tech, Stella was reviewing her student’s classwork on her computer. When the shooting began, Stella stood at the easel and added brush strokes to the canvas. James moved the camera around the room fluidly. It was all very physical.

With that shot done we all got ready for the reunion, and I drove James and Stella in my Prius to the hotel where the reunion was being held. Some Feature Animation artists had met earlier to see a screening of Mulan at a theater down near the hotel, but we were busy shooting a movie, we didn’t have time to play the part of being an audience.

Disney Animation Desk in a Museum

Posted on by Thor

The Orange County Regional History Center had an exhibit celebrating the art of Animation called, Animation-Land. The exhibit ran from January 17, 2026, to May 3, 2026.

Hosting the exhibit were Tracey the pencil dog and her quirky crew – Rooth, Drop, Inky, Uno, and Kari. They lead visitors on an immersive journey into the art and science of storytelling. Families and fans of all ages could dive into hands-on activities such as story boarding, sketching, and stop-motion filmmaking while discovering how animated features are brought to life. The exhibit featured colorful characters and interactive stations, Animation-land empowered everyone to experiment, play, and create their own stories through the magic of animation.

The exhibit also celebrated a remarkable local chapter in animation history. Drawing Magic: Walt Disney Feature Animation Florida explored the groundbreaking studio that operated at Disney-MGM Studios from 1989 to 2004. Visitors discovered how Florida artists contributed to such beloved films as Beauty and the Beast, The Lion King, Pocahontas, Mulan, Lilo & Stitch, and Brother Bear to name a few, and how the studio helped define Disney’s animation renaissance. Through artifacts, stories, and artwork, this section revealed the creative community that once flourished right here in Central Florida.

This exhibit at the end of the exhibit caught my eye. It shows a Disney Feature Animation desk in what the animators once called The Fishbowl. I worked at a desk exactly like this in the Fishbowl. My desk was right below a bank of windows that allowed tourists to look down and see how the art of Disney Animation happened. It was my first week on the job and I definitely felt some imposter syndrome since the lead animators were sequestered away in their private offices truly creating animation magic.

When I started work on Pocahontas,  desk did not face the wall of tourists, but rather my desk faced away from the phalanx of distraction. However, on my first day on the job, tourists kept knocking on the thick glass to get my attention. When I turned towards them and looked up they would smile and give me a thumbs up. It was a nightmare. I felt like a gorilla in a zoo.

Eventually the Disney Guard who worked in the tourist corridor also wanted my attention. He knocked on the glass. He was saying something, but the glass was too thick to hear him. He was pointing down into my workspace and I finally realized he was pointing at the lower ledge of the tourist windows. I reached up and felt around with my finger tips and finally found an edge to some white artist tape. I pulled the tape up and there was writing on it. It  said, “Hi, My Name is Tom, if you like my sketch, please knock on the glass and give me a thumbs up!” An animator seated deeper in the fishbowl was laughing out loud when he saw me groan and roll my eyes. This was an initiation for new hires.

Now the Disney desk I once sat at between 1994 and 2004 is a long-lost analog example of a time when artists drew on paper with pencils to create movie magic. In our digital age, computers have long replaced the magic of drawing lines on a page to breathe life into a character. AI further threatens to eliminate the need for any human talent.

Playalinda Beach

Posted on by Thor

After I finished teaching on Sunday at Crealde, Pam, her niece and I headed out to Playalinda beach. We had never been to this beach before so it was an adventure for all of us. Playalinda is known for having a nude beach section and research on the road trip indicated the nude section was at the 13th parking lot.

Being a park on the Canaveral National Seashore, it costs money to get into Playalinda. A car load costs $20. For $40 you can get a yearly pass and Pam decided to get that since it would be paid off in just two beach trips. We quickly realized that these beaches are much less crowded than at Coco Beach. The water was a magnificent turquoise and deep blue and there were no rocks leading out to the surf.

Even I have to admit that the water was warm and delightful. The waves were gentle and rolling rather than threatening.

I decided I was not getting a sun burn this beach day. Sun screen was slathered on at home and I kept my white t shirt on even when I went out inn the waves. I stayed under the beach umbrella and kept my white Pocahontas beach towel over my legs the whole time to be sure my legs didn’t turn beat red. The last beach day I slathered some sun screen on my chest and shoulders and found out the next day that I had only applied sunscreen to a few patches and the resulting red pattern made me look like a camouflaged burn victim. Hopefully this trip I avoided getting to much sun. I suppose I will know by tomorrow.

Pam and her niece wanted to see the nude beach, so we drove to lot 13. They walked out to the beach to have a look but I stayed behind in the air conditioned car. If there isn’t enough time to sketch naked butts, I am not interested. Apparently there were quite a few very large naked men on the beach.  The larger the man, the smaller the dangling bits tend to appear.