Fox and the Hound
There are some amazing names are on this list of credits and WOW doesn’t this list seem short compared to the feature film credit rolls of today.
In those days not everyone got screen credit and Ink and Paint was one of the departments whose work ended up on the screen but their names did not.
Left to Right Front Row: Karen Comella, Janette Hulet, Robin Police, Melanie Pava, Tatsuko Watanabe, Gretchen Albrecht, Charlotte Armstrong, Sherri Vandoli
Left to Right Middle Row: Susan Moreau, Edie Hoffman (w/ sunglasses), Marisha Noroski, Jean Erwin – Supervisor (w/camera flare on top of head), Penny Coulter, Marcia Sinclair (polka dot blouse), Ann Neale (tall with sort of shag haircut), Barbara Palmer (leaning on rail, outside vertical support post)
Left to Right Back Row: Micki Zurcher (head turned toward screen right), Lois Ryker (w/ hand in the air), Ginni Mack (forehead and top of hair), Gina Wooten (dark bangs, right eye and a bit of nose), Robyn Roberts, Jill Sturdivant, (KP) Karen Paat
Affectionately known as “The Ink and Paint Ladies” pictured above huddled with big smiles in the Ray Bradbury Something Wicked This Way Comes gazebo on the Disney backlot. Ink and Paint was the largest department in the production process at that time. We didn’t call it a production pipeline until much later. (smile)
The painters might be in units defined by a characters in the film. The colored paper drawing (color model mark up) would show the color separation areas (color seps) and identify what paint would needs to go where. Inside wing, outside wing, inside mouth, white of eye, etc…. There is a cell for every drawing in the film and it this crew who perfected the traditional skills of painting onto cells for feature animated films and painted every single one of them.
Done before digital technology (CAPS) all with paper, cells, gloves, brushes, water, paint, drying shelves and all those great people sitting together in one department combined with the fact that Disney ground their own pigment and made their own paint created a quality and a look second to none.
At that time most of the cells from a Disney animated feature film were thrown away in a dumpster out behind the camera department and animation artists would dig through at night in search of cells they could take home. At the time no one knew they were creating museum pieces that by today’s prices are worth thousands of dollars.
Although before my time, Ink and Paint traditionally had some of the best parties while on the Disney lot and off. Maybe it was because they were always separated from the rest of the animation department that gave them a rogue freedom that we all enjoyed. But we all felt the release from the exhaustive overtime hours at the Ink and Paint parties.
Talented people, working together toward a single cause, achieving results beyond their means and contributing to a future while contributing to a legacy during a time when they were “Drawn2gether”.
Photos care of Penny Coulter.