Animation &Animation Artifacts &Disney 17 Jun 2009 07:39 am
Tytla’s Stromboli 3
- This is part 3 of this large scene by Bill Tytla of Stromboli. The scene started in Part 1 with thoroughly frenetic anger from Stromboli. In Part 2 he tries to catch himself and get a grip on his emotions. Here in Part 3 he moves slowly and takes a 180° turn from where he started. The line against the curve. All this while playing out the lines from the scene. The drawing is stunning, the motion is brilliant, and the acting is the best animation has to offer. Those hands are just great; look at 126.
I pick up with the last drawing from Part 2.
86(Click any image to enlarge.)
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Tytla made sure he firmly planted Stromboli’s feet (in part 2)
before he attempted this firm bow.
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He’s made a solid line of the back, the strength of this move,
by using the left arm held firmly in place.
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This is the bottom of the bow, now he goes back up.
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All of the shapes change naturally in the bow, though it looks
as if it remains a solid. No noticeable change. Solid weight.
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Watch the timing on the hand from here to #128
as Stromboli blows a kiss.
Many an animator today would pop it and call it animation.
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Click left side of the black bar to play.
Right side to watch single frame.
on 17 Jun 2009 at 12:18 pm 1.Dan Caylor said …
Oooooh there’s more! Thanks Michael
on 17 Jun 2009 at 2:23 pm 2.Vanessa Budlowski said …
I really have to thank you for always posting these wonderful breakdowns of masterful animation. Thanks a ton! Bill Tytla is a hero of mine, so all these Stromboli posts have been making me “geek-out”.
on 17 Jun 2009 at 7:10 pm 3.Barbara said …
nobody today can top this, not even Disney themselves
on 19 Jun 2009 at 3:20 pm 4.howard Beckerman said …
Hi Michael,
I noticed in your wonderful blog a sketch of Snow White with a yellow blouse. This reminded me that yellow was one of the colors they thought of using before the final choice of black. When Iris was restoring classic cels a few years ago a cel came in with Snow White wearing a yellow dress. The gallery wanted it changed to look like the dress used in the film. I explained to them that this was an historically important cel because it predated the final production cels. They insisted on having it changed. Of course it was easier to sell, but stupid. Also you showed characters from a Steig commercial. I worked at Bill Sturm Studios, and although i didn’t animate the spot shown, i did animate another one. Steig came up to the studio and came around and looked over my shoulder and I recall he was very complimentary when I flipped the drawings for him.
Your Splog keeps the memories alive.
Howard Beckerman
on 26 Jun 2009 at 3:26 pm 5.hasani said …
beautiful drawings, these are excellent examples that animation is a medium that can be used to an endless amount of emotions effectively, thank you for posting these, i hope you post more drawings of this type (rough sketches, frames, how-to-draw…).