tag:blogger.com,1999:blog-22906998.post2487060533899706626..comments2024-03-29T02:18:35.303-07:00Comments on TAG Blog: Al Dempster Interviewed -- Part IVSteve Huletthttp://www.blogger.com/profile/05537689111433326847noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-22906998.post-24826435421716027352007-03-17T15:11:00.000-07:002007-03-17T15:11:00.000-07:00I'm glad to see the issue of what paint they used ...I'm glad to see the issue of what paint they used being addressed here. It's interesting to me that in addition to tempera, which is what I presumed they always used, Al also mentions using acrylic paints for some effects involving glazing of transparent layers. <BR/><BR/>When I worked down at Walt Disney World, I would sometimes go visit Ric Sluiter in the Florida Feature Animation dept. to get some painting tips from him. I was always curious how they were achieving the delicate blending of tempera paint, which I had always had difficulty doing. He explained that, in addition to getting as good a blend as possible working wet on wet, they could go back to it once it was dry and soften the blend some more by misting the area lightly with plain water in their airbrush. Then, while the area was still moist, they would gently sweep a big fluffy brush back and forth over the area until they had a perfect, soft blend. This technique Ric called "badgering", as it utilized a brush made from soft badger hair (sort of resembling the hair on a shaving brush.) He explained that this was preferable to spraying colour with paint from the airbrush, since this often resulted in a powdery surface of pigment that had a tendency to get smeared onto your hand as you returned to the area. <BR/><BR/>I really admire the great background painters from the Disney Golden Age. Steve, if you have any information regarding the way your Dad worked, it would be very welcome to read here too. As it is, I am grateful to you for this wonderful interview with Al Dempster that you've reprinted here for us. Much thanks!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-22906998.post-28307463384281253732007-03-14T14:03:00.000-07:002007-03-14T14:03:00.000-07:00Again, Steve, a FANTASTIC piece!It seems that Al D...Again, Steve, a FANTASTIC piece!<BR/><BR/>It seems that Al Dempster has answered a nagging question that has nagged at me for years. When you see a photo of a Disney cel set up in a book that utilized the C.L. overlays spoken about - I'm thinking Winnie The Pooh here - you always seem to see the Xerox outline twice - two images of the same line slightly out of alignment. I never knew the lines were also Xeroxed on the illustration board as well. If the board shrinks, I guess that explains the inconsistency. <BR/><BR/>This has been some of the BEST animation related stuff I've ever read. I am an animator myself and I do some painting as well, but it has always been the settings of the great Disney films that have taken me out of reality and into their worlds! It must have been a thrill for you to see your father at work, too.<BR/><BR/>Thanks again!Anonymousnoreply@blogger.com