Vault / Film Archive / Painted Stages
Imitation of Life, 2013, watercolors
Director Mathias Poledna’s animated short, celebrated at the 2013 Venice Biennale and the Whitney Museum’s 2016 exhibition, pays homage to 1930s cinema. Working with Duck Studios in Los Angeles, Mathias drew inspiration from early Disney classics Snow White and the Seven Dwarfs, Bambi, and Pinocchio.
These examples helped set the stage for the film’s environments.
Color Key for Imitation of Life, watercolor and digital media, 2013
Background for Imitation of Life, watercolor and gouache, 2013
Members of the background department pose for a photo (1998) to be included in Mulan Reflections, a humorous high-school yearbook project for the studio. Dubbed, "The Art Club," Background Supervisor Robert (Bob) Stanton stands in costume as muse. Clockwise from Bob are fellow painters, David Yorke, Xin-Lin Fan, Ron DeFelice, (myself), David Wang, David Murray, and William Silvers—yes, three Davids!.
Bob passed on August 13, 2021, and is deeply missed by all who knew him. His contributions to the animation industry were immeasurable, and he earned the respect and admiration of his colleagues. Bob graciously posed for his portrait by me, which rests beneath my hands. I regret not giving it to him, as life is short.
Traditional Disney background art, inspired by nature and fine art, traces its origins to Claude Lorrain’s stage-like landscapes. Walt Disney worked closely with leading artists of the time to produce a unique design for each film—a tradition that continues today. Background art sets the mood and atmosphere of a scene, with its quality often reflecting the production’s budget.
Below are examples of backgrounds I created using traditional paints and brushes. On each film, a dedicated team of painters (typically around 10-12) worked to produce 100-150 paintings, totaling approximately 1,000 backgrounds across the project. Hans Bacher’s Dreamworlds delves into the creative process behind our work.
Lilo & Stitch, 2003, watercolors
In requesting watercolors as the medium for Lilo & Stitch’s background art, Director Chris Sanders broke with Disney's long-standing tradition of acrylics or gouache. The crew spent a year “ramping up,” experimenting with various brands of paints, color performance, and techniques. This process included an excellent workshop led by watercolor artist Thomas Schaller. Ultimately, Chris’s vision shaped the film’s unique style, and I personally, found the work on the film to be especially rewarding.
This watercolor background established the painted look of the Hawaiian vegetation.
Featured in Walt Disney World Feature Animation Exhibition, Disney’s Hollywood Studios, 2002
(Both layouts by Andy Harkness)
Walt Disney Animation Studios, The Archive Series, Layout and Background, ed. John Lasseter
Color key, Acrylics
I appreciate John Singer Sargent’s advice on painting with watercolors, “Make the best of an emergency”.
John Henry, 2000, scratchboard and acrylics
For John Henry, we drew our inspiration from Harlem Renaissance artists. Two distinct techniques were developed for the backgrounds: one paid homage to the patterns of Gee’s Bend quilts, while the other took cues from scratchboard artist Brian Pinkney, who generously shared his personal process with the crew.
Brother Bear, 2003, acrylics
One of our background artists, Xiangyuan Jie, became Brother Bear's production designer, leading the film’s lush, painterly style inspired by his own hand.
Directors Aaron Blaise and Bob Walker, a former layout artist, adjusted the movie’s aspect ratio to convey a sense of “big country.”
The film’s rugged environments were inspired by Alaskan wilderness. As part of our research and development process, the background crew was offered an exciting outdoor excursion in Jackson Hole, Wyoming, guided by landscape painter, Scott Christensen. Additionally, artist Len Chmiel, led a color-focused oil painting workshop at the Coronado Springs Resort.
Mulan, 1998, acrylics
The Ming and Qing dynasties are reflected in the styling of Mulan, with production designer Hans Bacher bringing the graceful simplicity of Chinese watercolor painting into the backgrounds. His careful oversight ensured the film’s visual style was beautifully realized.
Acrylics on acetate, 1997, featured in Walt Disney World Feature Animation Exhibition, Disney’s Hollywood Studios, 1998
Acrylics on illustration board and acetate, 1997. This work established the painted look of the Emperor’s Palace. The large work had 26 moving layers revealing various levels of the palace, including its dramatic staircase.
Tarzan, 1999, acrylics
The setting for Tarzan was exceptionally intricate, requiring a significant collaborative effort. The directors coordinated background crews from all three Disney studios—Los Angeles, Orlando, and Paris—bringing together a total of 50 artists to work on the project, making it the largest assembly of background painters in Disney’s history.
Books
The Walt Disney Animation Research Library
Walt Disney Animation Studios, The Archive Series, Layout & Background
2011 Disney Editions
Kiki Thorpe
Lilo & Stitch, Collected Stories from the Film’s Creators
2002 Disney Press