Saturday, February 25, 2012

Art in Anaheim: Sculpture Finally Gets Some Love

A splashy comeback for artist John Edward Svenson's sculpture.

Last summer I wrote about the "Child on a Dolphin" sculpture in front of Anaheim's Chase Bank. Back then, the bronze sculpture, which had originally decorated the bank's fountain since 1970, was sadly in need of some love. Dead plants and litter filled the basin, and generally things weren't looking too great at the corner of Harbor Blvd and Lincoln Ave.

Well, as you can see in the photo above, things have changed. Chase Bank cleaned out the basin, installed a watering system, and planted fresh flowers all around. Not only do the boy and his trio of dolphins look happier, the entire intersection feels classier. I applaud Chase Bank for finally taking pride in their property and the neighborhood, and giving a piece of public art the respect it deserves. Three cheers for Chase!

The sad situation back in August 2011.

Keeping our neighborhoods nice and beautiful begins with all of us. Pick up litter whenever you see it and throw it away. You've got two hands and it only takes a second, so get yourself into the habit. It doesn't matter if you weren't the person who dropped the litter in the first place - be the wonderful person who makes it go away. I'll admit that before I took the photo at the top of this post, I had to pick a Starbucks cup and a Fritos bag out of the flowers. Yes, I grumbled about it for a second, but then the trash was gone and I felt great. Remember, ugliness breeds more ugliness, and by making an effort you can make a big difference in your neighborhood.

Tuesday, February 07, 2012

Smile A-While To-Day!

I'm the kind of guy who wants to believe that everything in life happens for a reason. To acknowledge that life's little ups and downs are largely beyond our control is a concept that doesn't sit too comfortably with me. Furthermore, when life's "downs" occasionally happen, I think it would be nice if there were always some straightforward lesson to be learned to help us avoid them happening again.

A month ago I had a mishap on my bicycle (my beloved bicycle!) that resulted in ten broken bones and a punctured lung.


My lung is practically healed now, but the bones, including a broken shoulder and collarbone, still have a way to go. Truthfully, it sounds a whole lot worse than it actually is, and I'm relieved that things have been improving so quickly since that first week. And although I haven't really learned anything important from this episode (other than the fact that Hydrocodon will make you insanely thirsty), I've become aware of something that was already present in my life but just needed this opportunity to become more vivid --- and that is the love I feel for my friends, neighbors and family. Thank you for your overwhelming support, happy thoughts, cards, emails, and, for some of you, cooking! I am filled with gratitude, not just for LIFE in general, but for the amazing people around me who make it worth living.

Here's to healing, to time passing, and to you!

Player Piano Sing-A-long!
"Save Your Sorrow For Tomorrow" 1925

Monday, January 30, 2012

Walt Disney's Secret Characters (Part One)

Tommy Mohawk and his little pal, Chatter!

We recently acquired a stack of rare television commercial model sheets created by Disney artists in the '50s. When these animated ads were produced, Walt was looking for ways to earn extra money to keep his studio afloat and help finance Disneyland. The characters you see here for Mohawk Carpets were drawn in 1952 in the traditional Disney style.


Here's Chatter the Squirrel, looking suspiciously similar to another famous nut-loving rodent in the Disney firmament. Apparently his oversized headband would sometimes cover his eyes, causing him to trip and run into stuff.

And this sweet Indian maiden is Minnie (short for "Minnehaha"). There were eight Mohawk spots produced in all, with the following descriptive titles: Tommy Tests Carpets, Tommy Supervises Weaving, Tommy Plants Carpet Seeds, Tommy Designs Carpets, Tommy Falls for Minnie, Tommy Gives Animals Sleeping Carpets, Birds Use Waterfall for Loom, and Tommy Harvests Carpets.

Here's the complete model sheet:

Notice that the Studio stamp at the top isn't Disney's, but reads "Property of Hurrell Productions." Producing commercials for TV in the early days was considered waaay beneath the status of a major Hollywood movie studio, so Walt set up a separate, secret television production studio on the Burbank lot operated by famed glamour photographer George Hurrell...who just happened to be married to Phyllis Bounds, the niece of Walt's wife, Lillian!


George Hurrell, incidentally, had photographed Walt for this famous portrait way back in 1940.

There is one Mohawk Carpet ad posted online (Tommy Plants Carpet Seeds!!)

 
And if you google "mohawk carpet animated" you'll discover this nifty roadside relic in Denver, Colorado:


Tuesday, January 24, 2012

Disney Storyboards for Kelvinator, 1955


Hey Tomorrowland fans, remember once we traveled back in time to 1955 to see CIRCARAMA and that mind-bending kitchen appliance of the future, the FOODARAMA? You don't remember that? Well, CLICK HERE and go see it now. I'll wait right here....
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Okay, back again? Now check this out. Below are the storyboards for the animated logo seen in the Kelvinator TV commercial above. The animation was produced by Disney, who may very likely have run this ad with the weekly Disneyland TV show on ABC.

Storyboard art like this is a rare find and really cool to look at, so I thought I'd share it with you. The descriptions that accompanied each panel are included underneath the picture... Enjoy!

Kelvintator music with singing (choral group or single voice).
Logo Action - Circle zooms up into scene.

1st bar of letter K drops into circle...

Rest of letter K with remainder of logo shoots in like arrow.

Sparkle flash on contact.

Flash fades. Logo complete.

Dissolve to long shot of Dream Kitchen floor pattern floating in sparkling star
sky over lighted city. Dancer-type girl in sheer flowing dress on floor center.

Appliances pop on completing Dream Kitchen set-up. Girl reacts.
Dolly camera into medium shot.

Dissolve to medium close shot of featured appliance. Singing stops and woman announcer's voice takes over. Girl pantomimes to pitch to display the merits and features of appliance.

Sunday, January 22, 2012

I Speak For The Tree...Part Two

Two months ago I wrote a sort of eulogy to a lost piece of art, the original Plaza Pavilion mural at Disneyland, a painting that had sparked my imagination as a kid, and has continued to be a source of inspiration to me in my own work. Since then, that post has received more hits, more "tweets" and garnered more responses than anything else I've written for this blog. Many responses arrived in my email or as facebook messages, and a great deal of them came from within the Disney company itself. Some were from anonymous writers (or acquaintances who requested to remain anonymous). The post seemed to have hit a nerve with many like-minded people, especially people who create art themselves, or hold creative jobs.

Recently Disneyland unveiled their brand new Jolly Holiday Bakery in the Pavilion space, and I have to say it's wonderful. It's truly one of the most delightful and inviting interiors at Disneyland today, and the food is really great, too (try the Waldorf chicken salad sandwich with tomato soup.) The wall that once carried the mural is gone now, but the custom moulding that framed it remains. Disney Imagineer Kim Irvine lovingly handpainted a subtle tribute to the mural with a similar tree overflowing with Mary Poppins references. The week the bakery opened to the public, my inbox was bombarded with cell phone shots of Kim's painting from readers who had recognized the tribute. I highly recommend visiting the new Bakery, which has become my favorite place to eat in the Park.

However, the search for some decent documentation of the original Pavilion mural continues. Incredibly, two people have come through with their own shots of the mural, and granted permission to share them here. The color photos below are courtesy of my friend Greg MacLaurin, a creative genius himself, who snapped these photos in the restaurant decades ago. He could only provide these lo-rez shots, but I assure you they are better quality and show more detail than anything we could locate in Disney's official files.

The color seems close to the original, though the flashy metallic gold background is reading here as mustard yellow. Greg's photos were taken from the serving line and at an angle to avoid his flash bouncing off the surface and back into the camera. I've distorted the frames in photoshop to flatten out the art as much as possible.

Seeing these images, even fragmented as they are, makes me happy. And this brings up a key lesson on historic preservation and the importance of keeping documentation. When a work of art is lost, whether it be a mural, a beautiful old building, or an original movie negative that has decomposed - it can never again be experienced as it was intended. Photographs, if they even exist at all, become the only portal to stepping back in time. To date, the images I've posted are all that we have, and to people who care - like you and me - they're as valuable as gold.

Look, there's the frog on the cutting board -a particular source of squeamish delight to me as a kid.

And, check it out! At the base of the trunk, there are little mushrooms growing in the grass; a wonderful touch that I had forgotten all about.

If anyone else out there has a picture (even just a glimpse) of this mural stashed somewhere in a family album from a past trip to Disneyland, please consider sharing it with us. Together we can make sure a small, lovely detail of Disneyland's past won't ever be forgotten.

Saturday, January 07, 2012

Anaheim's Marvelous Modern Mobil, 1956

The Mobil gas station that once adorned an intersection near Disneyland was a marvel of mid-century design by architects Whitney Smith and Wayne Williams. With four giant floating canopies balanced magically on spindles, underneath a fire-engine red flying Pegasus, the station was a mid-century roadside masterpiece - even catching the eye of famed architectural photographer Julius Shulman in 1956.

Saturday, December 31, 2011

Monday, December 19, 2011

Every Christmas Card I Write...

I'm a push-over for Christmas cards - specifically wonderful old cards. They're the best ones. We never purchase new cards each year, but instead send out used vintage cards, even if they're already written in. Simply sign your name under the previous sender just like you're endorsing a check. "Season's Greetings from Clyde and Flossie Humperdinck ... but mostly from Kevin!"

After years of mailing beautiful old cards out, never to be seen again (by us), we've begun scanning them first. Our Virtual Vintage Christmas Card File is looking mighty fine right now. I've just shared twenty of our favorites on the Miehana Flickr gallery. Check them out here.

Merry Christmas from Great-Grandma Schmickle - and me!



Tuesday, December 13, 2011

A-Frame Doll House

A perfect gift for the cool kids on your Christmas list: a miniature mountain lodge you can build yourself! From Sunset Magazine, December 1961.

Both sides of the roof open out flat on the floor, and fold up for storage.

Built of 1/4" plywood, and pine molding, with a sheet of heavy clear plastic for the windows. The roof is painted with one thin coat of brick-red paint, and the shingles are simply drawn in with a soft pencil and a T-square. So easy. I seriously want one of these.

(And you can get the perfect furniture for it HERE... including a teensy Hemisphere Chair!)


Tuesday, December 06, 2011

Disneyland's Unknown Muppet Parade


"Here Come The Muppets" Parade models, 1990.

With the Muppets' recent comeback for a new generation, I was reminded of my brief brush with Muppetdom in early 1990. "Here Come The Muppets" was the title for a proposed Disneyland parade that would have featured giant inflatable characters rolling down Main Street on floats, similar to the balloons in the Pardi Gras parade (also 1990). Disney had just purchased the Muppets from Jim Henson for an estimated 150 million dollars, and the company was speedily making big (and wild) plans for Kermit the Frog and Miss Piggy.

Disneyland President Jack Lindquist had an idea of sending Mickey and the other Disney characters  on a year-long "vacation" away from the Park while the Muppets took over for the duration. Some of the concept sketches we saw at the time included draping the Disneyland marquee on Harbor Blvd with a big banner reading "Muppetland", painting the Matterhorn green, and replacing the Mickey flower bed in front of the Train Station with Kermit's face.

Thankfully, none of this came to pass, but the Disneyland Art Department certainly enjoyed working on several Muppet parade models. In the photo above, Kermit, Sweetums, Dr. Teeth, and Animal were all sculpted by Rich Collins. I did Fozzie and Beaker. Miss Piggy was done by Scott Sinclair, and Jackie Perreault sculpted Swedish Chef. One other model I'd started but never completed: Gonzo in his super-hero cape and red tennis shoes.


Beaker and Fozzie sculptures in Plasticine. In the final ver-
sion, Fozzie sat on a steamer trunk full of vaudeville props.

On May 16th, 1990, Jim Henson died unexpectedly of pneumonia. I heard the news on KCRW while driving to work that morning. It was a terrible shock, made even more surreal because of the project we had been immersed in for months. With Henson gone, Disneyland's Muppet deal immediately floundered, and we were told to stop working on the parade. Any artwork that we had done featuring Muppets was packed onto a truck and taken away (possibly to the Henson company?) Maybe there's a warehouse somewhere with all our models packed away in crates. At any rate, I'm glad we snapped a few photos while we had the chance!


TV's "Magical World of Disney" welcomed the Muppets to the family. (1990)

Friday, December 02, 2011

STUDIOS Photo Shoot

Hey, we're in a magazine! The current issue of Studios Magazine has a feature article on the Kevin & Jody Co. studio -- and with some very pretty pictures. Sure wish our workplace was this tidy all the time...

This is where I work. The radio is always on.

The ever-changing Wall O' Projects. (Yep, we have no ceiling!)

Jody's Paint Headquarters.

Some beautiful stuff happens at this table.

Pick up the Winter 2011 issue of Cloth-Paper-Scissors' Studios Magazine at any Barnes & Noble books, or at a Michael's crafts store near you.

Sunday, November 27, 2011

I Speak For The Tree

Diagram of Disneyland's Plaza Pavilion mural, 1962

A warning. Today's blog post ends with a tragic account of loss and oblivion. So, if you're blissfully content with the aesthetics of your world, and wish to remain so, you might want to skip this one. Otherwise, read on!

I write a lot about Disneyland on this blog, and for many of you, that's why you come here. Disney doesn't pay me to do it. I'm passionate about the art and artists that interest and inspire me, and the classic Disneyland of the 1950s, 60s and early 70s was something very special and unique. There was nothing on earth like it. There were no "DisneyParks®" or global "Where Dreams Come True" marketing initiatives back then - there was only Disneyland. That's the Disneyland that I like, and spend time thinking about. A great deal of "classic" still exists in the park today, in quiet spots, still undisturbed by corporate synergy or the inappropriate placement of Pixar characters. But the best bits of Disneyland exist now only in photographs, old audio recordings, in vintage paper ephemera, and in our memories.

Growing up with Disneyland has been an inspiration to me my whole life, and not just for the obvious things. The inspiration to travel, to explore, to read, to paint, to sculpt are all things that I can attribute back to Disneyland visits. The sounds emitted by the Penny Arcade's antique music machines, the lush greenery of Adventureland and the Rivers of America (a particular novelty to me growing up in the Arizona desert), the folk songs heard in America Sings, and the tingly excitement of voyages through Inner Space and "liquid space" electrified the fine hairs on the back of my neck.

And there were also beautiful hand-made works of public art all through the park that made me want to become an artist myself: from Mary Blair's splendid ceramic tiles that gift-wrapped the corridor of Tomorrowland to the original dioramas in Sleeping Beauty's Castle. But my favorite work of art, by far, was a magnificent cooking-themed mural on a wall inside the Plaza Pavilion restaurant.
Do you remember it??

The exterior of the Plaza Pavilion, presented by Stouffer's. 1962

Finding a good color photograph of the mural is like tracking down Bigfoot, despite the fact that it was in full-view right there in the serving line, with millions of people sliding their cafeteria trays past it for over thirty years.

It's right through those doors. See it?

Well miraculously, on just a regular day in 1993, I happened to have the great foresight to take a picture of it. One solitary picture with my old beat-up Polaroid camera. It was such an afterthought on my part to take a photo that day, since the mural had been there my entire life and , of course, would always be there forever. Right?


And here it is. This photo does not do the mural justice.

Painted against a blazing metallic gold 'foil' background, the mural depicts a tree with its branches carrying an exotic array of foods from different regions of America and Europe. There are teapots and soup tureens, strings of sausages, Danish coffee cakes and a wedge of gooseberry pie. There are frog legs and crawfish, strange cheeses, aspics, and seafood in green gelatin, frothy steins of German hefeweizen, a coffee mug with a sour cream doughnut, and a silver dish of ice cream with a peach-half and a green candied cherry. Behind the food, in evocative dark brown silhouette, are cast-iron stoves and beer kegs, a slaughtered wild turkey and a flintlock blunderbuss, the disembodied head of a steer, a wooden ice cream churn and other archaic culinary implements and imagery that I can't even identify.

The subject matter and the obvious research involved in gathering together this panoramic smorgasbord of gustatory glories is breathtaking. No matter that the Plaza Pavilion, featuring a menu based on Stouffer's popular restaurants, did not offer any of these dishes. The mural conveyed to patrons the idea of fine dining and abundance. Two well-worn English expressions adorn a ribbon trailing through the tree's foliage: "Cooking is the oldest of all arts" and "The proof of the pudding is in the eating."

According to the Imagineering research library, the mural was created by a small team of Disney's finest. The penciled signature of art director Ken O'Connor (who among many contributions created the magical coach in "Cinderella") is on the back of one of the concept sketches. Paul Hartley, another revered art director responsible for many of Disneyland's famous attraction posters is also credited.

And speaking of attraction posters by Paul Hartley, the Stouffer's Pavilion had a great one. A popular image today purely for its inclusion of the Tahitian Terrace and the Enchanted Tiki Room (also intended to be a restaurant initially), the final poster actually references the tree mural!

(Left to right) Two "Stouffer's in Disneyland" poster concepts and the final design.

The tree with coffee and tea pots - and the sour cream doughnut.

In 1997, at the end of the summer, the Plaza Pavilion restaurant closed forever, but the building reopened sometime later as an Annual Passholder sales center. Stopping in to look at the mural, as I often had before, I was alarmed to see that it was gone! The wall was now covered with embossed wallpaper and there were a few framed posters and a cake mold nailed to it.

I expressed my horror to a friend at WDI who informed me that the mural was considered to be a treasure, and had not been removed or painted over, but was actually safe and sound behind the new wallpaper. There had been no budget for the removal of the painting, and not wanting to confuse people coming in to renew their annual passes, Imagineering had carefully placed a cut-to-fit cushion of foamcore board over the painted surface before the temporary outer covering had been put up. Someday, the hope was, either the Plaza Pavilion location could be reborn as a restaurant, or the mural would be rescued. Have no fear.

The AP Center in 2009. The mural sleeps.

And now - the rest of the story.

Fast-forward to this summer, August 2011. After over a decade, the AP Center is finally gone for good, and word goes out that the historic Plaza Pavilion will once more return as a fabulous food service venue. Construction barriers surround the building's facade in preparation for its transformation into a Mary Poppins bakery! Hurrah! Jody and I start talking about the mural to all our Imagineering friends. The WDI art library expresses interest in preserving the mural in their permanent collection if it's not to be included in the Poppins renovation. I toss around the notion of dedicating a blogpost to the mural's history as soon as it's unearthed. My old Polaroid photo now looks especially grainy and discolored as I consider the beautiful new photos I'll take once I finally see my favorite Disneyland work of art again.

On September 1, Jody and I are in the park for an evening event and peer for the hundredth time through a quarter-inch gap in the blue construction wall, and we gasp. There it is!!!

Captured with my iPhone. The mural's final photo.

We can just make out a small portion of the art...the top of the tree, the old familiar coffee cup, the sour cream doughnut...visible above the foam wall board! We jump for joy and I immediately text a photograph of it to everyone we know.

A week and a half goes by, and we don't hear anything. Anxious, I make some calls up to WDI and leave messages. "Heard anything? Can we go over to the park and see it??"

Finally, a friend calls me back, and the news is horrible. The demolition crew on the project were told to remove a wall, and remove it they did. In the process, they uncovered the mural, but not having received any official instructions on what to do with it, totally destroyed it. Something about a concern for asbestos in the walls required all pieces to be deposited into biohazard bags and discarded.

I wish I had a happy ending to this story but I don't. It's taken me several months to digest it myself. As an artist, you go through your whole career hoping to create something beautiful, something that lasts, and that has an impact on those who experience it. The time, effort, and care that goes into creating something, whether for a commercial end or not, has a value. The mural would have been so easy to save, had someone in charge of this project not been so out of touch. You could say "Well, so what. It's just a restaurant mural of food. There are bigger problems in the world." Yes there are. But small losses like this and the attitudes that allow it tend to extend out in a wider arc. I know Disney values their past, even if only to package the past into ways to earn revenue from the most loyal portion of their audience. I don't believe that anyone purposefully intended for the mural to be demolished, but I believe it happened because no one cared to follow up on it, or bothered to put it on the 'to do' list. Budgets are only assigned to new stuff coming in, rarely for the preservation or documentation of old stuff going out. The Plaza Pavilion mural is destined for obscurity, and I can't shake my personal feeling that Disneyland is a lesser place without it.

So, art lovers, I turn to you. There's no hope to document a work of art that no one can take a picture of, unless pictures were already taken. Do you remember the Pavilion mural? Were you freaked out by the frog on the cutting board, as I was? Do you have a shot of the mural tucked away in your old vacation slides? Disney doesn't seem to have any good documentation of it in their official files, and all I've got is this one crummy Polaroid.


*Note: This post is the result of years of searching to find out more information about this artwork, and the long wait for the mural to be uncovered and rediscovered. Now that it's gone, this post and the pictures shared are all that I have. I hope someone out there has a better image of it, or more information on its creation, so together we can keep this lost piece of history alive and accounted for.

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Sunday, November 20, 2011

How I Make a Poster

Paper illustration © Kevin Kidney

Earlier this year I was hired to create a promotional campaign for a holiday entertainment company using paper sculpture. I love Christmas and everything about the holidays so I was really excited about this project. Above is a scene that I put together for a poster. People often ask me to show more "behind the scenes" in making and photographing one of my illustrations, so this might be a good time to do it.

The first thing that I do, after talking things over with the client and doodling in my sketch book, is the layout:


A layout is simply my pencil drawings placed in a digital mock up, with a bit of shading and value. I try to figure everything out during this stage so I won't have problems to fix later. For this project, I experimented a bit with colors...


For me personally, choosing colors is the most difficult part of the whole thing.

Once I get the "go ahead" to continue, I start building my image. I had a very specific idea of how I wanted the "Holiday Village" typeface to look, with lots of whimsy and beveled edges:


Every part of the picture, including the lettering, is cut out of colored paper with an x-acto knife and assembled with strong tacky glue. I like to work very clean, so I keep a dampened dishcloth nearby to periodically wipe off my hands and fingers. Dirt, oil or glue will smudge the paper and ruin everything. Grungy is not my style, anyway.


Some of the paper bits are LITTLE and the slightest breeze will send them flying off my table like tiny leaves. I won't tell you how many times I had to search the floor for Santa's eyebrows.


Finally, it's all assembled like a miniature theatrical set, and carefully lit like one, too. It's very important the shadows fall where they're supposed to. This year I bought an excellent new camera that takes hi-def images, so conceivably, I could create artwork for a freeway billboard, if necessary!

I can fudge details in photoshop later (for print work) but I strive to keep that to a minimum. CG imagery is not as exciting to me, and part of the magic of making something look hand-made is to avoid over-polishing it in the computer afterwards.

And that's about all there is to it. Merry Christmas everybody!