General

Good Mousekeeping — Part II

Jim Korkis presents the second installment in this entertaining multi-part tale of “Good Housekeeping”‘s Disney Pages.

Published

22 years ago

June 10, 2003

In 1937, Whitman released a linen book which reprinted a dozen of the GOOD HOUSEKEEPING pages from 1934-1935. They were printed the same size as the magazine pages even though the overall size of the book itself is larger. The series of Disney linen books featuring Disney characters were thicker and printed on a more durable paper stock than similar books of the period. They were primarily designed for youngsters between the ages of two and six years old.

From December 3 to December 23, 1987 in conjunction with a special exhibition held at the Alexander Gallery of New York, a beautiful full color hardcover catalog of the exhibition was printed with sixty installments (and one half page of the September 1943 installment). Eva Peltz wrote a short, informative introduction. The pre-1942 installments were reprinted with no text except for the title and lettering on signs, mailboxes, and newspapers which suggests that the early episodes obviously must have had a transparent overlay with text that was placed on top of the watercolored artwork before printing. The post-1942 installments have the text (sometimes in the form of dialog balloons) incorporated directly into the artwork.

Disney announced it would publish a complete collection of all the pages in a large art book titled WALT DISNEY’S GOOD HOUSEKEEPING PAGES 1934-1944 which was to be released August 1995 at a price of $75.00. It was even assigned an ISBN number (1557094063) but the project was officially cancelled in 1997.

While the GOOD HOUSEKEEPING pages originally showcased versions of the upcoming Disney short cartoons, a shift in focus to Disney’s World War II contributions became apparent with the August 1942 installment which promoted the concept of buying saving stamps to help the war effort. Another significant change was converting the pages to merely two colors rather than full color.

A shift in style became more pronounced with the six “Good Neighbor” pages which ran from December 1942-May 1943. The installments were to help support the compilation feature, SALUDOS AMIGOS, which was designed to promote the U.S.’s “good neighbor” policy with the South American countries and was released at the same time. The pages were now no longer designed as full color images supporting a rhyming text much like a children’s book. Instead, they were designed like a comic book page with panels and dialog balloons. While these installments featured characters from SALUDOS AMIGOS, they were original stories that did not appear in the actual animated cartoon. An interesting sidenote is that the February 1943 page features Mickey, Pluto and an armadillo. Originally, the short cartoon PLUTO AND THE ARMADILLO was to be a segment of SALUDOS AMIGOS but ended up being released separately.

Another significant shift in the feature occurred in the October 1943 page when it became “New Tales From Old Mother Goose As Told by Walt Disney”. The pages remained in only two colors but were now divided into four equal sized panels with text at the bottom of each panel which was a revised version of a Mother Goose nursery rhyme. For instance, when Donald Duck as the Knave of Hearts ate all of the Queen’s tarts, he is sentenced to make some more. When Minnie as Miss Muffet is rescued from a big spider by brave Pluto, she rewards the pup with the remainder of her bowl of peaches and cream (rather than cruds and whey) that she had been eating.

While at this time, the name of “Walt Disney” was prominently displayed on everything from comic strips to coloring books to the animated cartoons themselves, it was a team of talented Disney Studio artists who toiled on these creations and more. In the case of the GOOD HOUSEKEEPING pages, it was the work of artist Tom Wood and then later his successor, Hank Porter, that produced these monthly mini-masterpieces.

Tom Wood was born in Philadelphia, Pennsylvania sometime around the 1870s and passed away October 4, 1940. He worked as a staff artist at Universal Pictures from 1915-1917 and then as a staff artist at the Los Angeles Herald newspaper from 1919-1932.

In 1932, he joined the Disney Studio in the Comic Strip/Publicity Art Department where among other responsibilities he lettered the Mickey Mouse comic strip during 1932-1933. On August 5, 1933, he was promoted to the head of the Disney Publicity Department which was a position he maintained until he left the Studio June 24, 1940, approximately three months before his death.

He is credited with supplying artwork for hardbacks, magazine covers, one sheets, movie posters, puzzles as well as covers and text illustrations for Mickey Mouse Magazine (1937-1940).

In her introduction from the Alexander Gallery catalog, Eva Peltz describes Wood as “a quiet, hardworking individualist. He was well liked and highly regarded by those who knew him both personally and professionally. He worked at the Studio until his untimely death in 1940 and, as publicity artist, assumed primary responsibility for the monthly Good Housekeeping page as well as the creation of publicity stills for the theater. Wood typically worked on each of these pages for a full week. Beginning with sketchy, penciled drawings which he would then ink himself, he also created the final watercolors which represented a seven minute Disney film short. Assisted by an ‘idea man’ and a third person who wrote the story or dialogue, the publicity artist had the final approval on the finished version.”

Hank Porter was born around the turn of the century and passed away in 1951. He joined the Disney Studio in 1935 and worked there until October 2, 1950. Standing an impressive six foot, six inches tall, the bespectacled Porter took over the monthly installments but his GOOD HOUSEKEEPING pages were but a small footnote in his work for the Disney Studio.

Like his predecessor, he was assigned to the Disney Publicity Art Department where he provided artwork for movie posters, advertisements, magazine covers, text and cover illustrations for Mickey Mouse Magazine and later the early issues of Walt Disney’s Comics and Stories.

He also drew the syndicated Sunday installments of the Disney comic strips that adapted SNOW WHITE AND THE SEVEN DWARFS (1937-1938) and PINOCCHIO (1939-1940). In fact, it has been remarked that his style on the SNOW WHITE strip captured the spirit of the original Gustaf Tengreen illustrations surprisingly well.

Beginning with the U.S. Declaration of War in December 1941, the Disney Studio was flooded with requests for insignias for military units by every branch of the service.

In early 1942, Walt Disney summoned Hank Porter to his office and according to an article in FLYING AND POPULAR AVIATION (April 1942) said: “Mister, you have yourself a job. Just settle down to it. Make as many insignia as you can. If you get overloaded with work, let me know.”

Porter assembled a staff of talented artists including Van Kaufman, Ed Parks and George Goepper to design and create insignia for the military. However, Hank was the most prolific and his experience from the Disney Character Merchandise Department helped keep the characters on model.

In a special employee newsletter, DISPATCH FROM DISNEY’S (1943), Walt referred to Porter as a “one man art department”.

Disney animator Bill Justice who worked on the DONALD DUCK and CHIP’N’DALE animated series and later became an Imagineer remembered that “Hank Porter did hundreds of beautiful insignias in full color. Hank took great pride and care in his work.”

Roy Williams and Hank Porter are credited with creating the insignia for General Chennault’s famous “Flying Tigers” squadron. Chennault even sent Porter a gold clasp of the insignia in appreciation of the design.

Porter often had to draw upon his own imagination to create new characters in the Disney style like fighting fish for submarines, which at that time were christened after the names of fish.

While Walt Disney continued signing autographs until his death, the requests for special signed artwork, books and gifts for VIPs, charity auctions, special anniversaries and similar requests became so overwhelming that a group of artists including Hank Porter, Floyd Gottfredson and Bob Moore were authorized to sign the famous “Walt Disney” signature on these items when Walt was too busy, out of town or otherwise occupied. So, some of those cherished family treasures of a Walt Disney autographed cel or storybook is actually an example of the craftsmanship of Hank Porter.

However, while the names of the primary artists on the series have been discovered, uncovering the names of the writers is a mystery that may be lost to the ages.

Dave Smith, Director of the Disney Archives since its creation in 1970, remarked in a personal letter that the Archives has never known who wrote the Good Housekeeping pages, but it was evidently many different people.

Roy O. Disney wrote even as early as 1935 that: “We have one very capable man who has been steadily preparing the art work for the pages, but with respect to the verses, I haven’t been quite so fortunate. Instead I have had to rely on getting it done here and there around the studio, and sometimes I feel that not enough thought has been devoted to the verse to work it out as well as it should be. I always felt that it was more important to have the verse read with good feeling and understanding for the younger child, than to have it, necessarily, very correct in meter and rhythm.”

So over half a century later, like so many other Disney projects, mystery still shrouds this memorable and beautiful example of Disney’s classic Golden Era which still delights collectors today. In fact, the original art for “On Ice,” the Disney Feature for Good Housekeeping Magazine (Nov., 1935) sold for $40,747 at the 2003 MastroNet Americana auction.

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

10 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

10 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

10 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015