The Twilight Bark - V11 N20 - 1999-05-17

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The Qa Dfenep Feature Animation Department Newsletter

MAY 17, 1999 - VOL. XI - ISSUE 20 EDITOR: EMPLOYEE SERVICES 8247 x2536

The Big Sleep (1945)

Humphrey Bogart is Phillip Marlowe...

...1n Howard Hawks’s version of the famous novel by Raymond
Chandler, adpated for the screen by Pulitzer Prize winner William
Faulkner.

Bogart and Lauren Bacall will be smoking up the Southside theater O5
screen this Tuesday! The film is presented in a glorious 35mm black
and white print, so don’t miss out on this classic detective film.

Tuesday, May 18
Southside Theater 7:00 p.m.

| - a = G a 29 (2 g oe G S e 4AE ot" Oe E
twilight.bark@disney.com

©DISNEY

Sone

setetetete oseto
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wesssetete
Possesso

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Seretetetenetete

z of questions about all the festivities. Here are a few answers to the questions CSdaj
i a$ d most often.

Screenings = [| _ *fatlre Animation

: _ I heard the will be screenings on June 1, 2, and 3.
| Which date will I get to see the movie? Di

| Invitations to the screenings will be sent to you via interoffice mail by
; | the end of this week. Your i invitation will indicate the night you re

invited. If you have not received an invitation by Monday, May 24,
: _ please call 8489 x3534.

a Will I get to see the movie with my co-workers?

= Yes! Individual productions and departments will be invited on the

. same ngas

retetete!

| nent instead?

Sorry, due to the capacity of the El Cap, switching nights is not
possible.

sneen,
sanen

dis Aieten,
atete

IIl be out of town for the screening, but my gardener would
a really enjoy it. Can I give him my tickets?
; i No, sorry, tickets are non-transferable. Please bring your ID.

CanI bring my children to the El Capitan screening?
Each employee may bring one guest. It’s fine if you choose to bring a child.

* However, there will be Family Screenings of Tarzan in our own theaters on June 26 & 27 for the
whole family.

annn nn TONGA

mee Where will it be?
Chus o Tarzan Crew The location will be announced on your invitation.
— {Doo arzan Trew
I didn't works or sft? —- Party When will I get an invitation?

Jois e Invitations to the Wrap Party will be sent to the
Absolutely! l Al ome et Tarzan Crew via interoffice mail by the end of this week. If you have not
Animati oo- a received an invitation by Monday, May 24, please call 8489 x3534.
A friend of mine worked on Tarzan but was laid off.

Will she be invited to the party?

That's a policy question that it’s hard to answer without knowing the specific
situation. Please have your friend call (818) 526-3534 if she hasn’t recieved an
invitation in the U.S. mail by intend ais 24.

for your wrap £ o
m: on. aodan o
May oe ae your =m

for times and locations.
9
What is the wrap gift?

— t But we've
Cant tell m. really rely

What do I wear?

TWILIGHT BARK.

MAY 17,1999

Ten members of the Lilo and Stitch development team "There are so many
recently packed their bags and headed for the islands of amazing flowers and varieties
Hawaii to get better acquainted with the setting of the film. of plant-life that it looks like a
Bob Stanton and Ric Sluiter recently sat down with the Rabbit postcard, and yet it’s real. Everything is
Rabbit and recounted some of their experiences from the coated with life."

research expedition.
Ric was struck with the intensity and clarity of the colors

During the six-day trip, the group visited the islands of found in Kauai. "There are so many unique colors and they are
Oahu and Kauai, the latter providing the inspiration for Lilo’s all so clear and bright. At sunset the sand on the beach is a
home. They spent a great deal of time drawing, painting, brilliant orange, the surf is a deep green and the lava rocks are
taking pictures, exploring and absorbing the tropical jet black. The lighting changes constantly and everything is
surroundings. "It’s a perfect place to design a film," said Bob. shrouded in shadows." Ric hopes to capture some of these

elements on screen.

But the trip wasn’t all work and no play. While they
missed out or: catching any monster waves, our stalwart
travelers did some deep sea fishing, snorkeling and attended a
luau complete with roasted pig. Rumor has it that there is a
video of David Steinberg doing the hula dance while wearing
a grass skirt and two strategically placed coconuts, but that
„has yet to surface. Ric was also bitten by the official Hawaii
state fish, the humuhumunukunukuapua (pronounced
humuhumunukunukuapua), but lived to tell the tale.

All in all, the trip was a success and gave the development
team many great ideas for the film. When asked to sum up his
time in Hawaii, Ric said that Kauai "provided a treasure chest
(Above) An inspired watercolor of Kauai, of amazing vistas, colors and ideas." Bob added, "Yeah, and
by Art Director Ric Sluiter the sushi was really good too."

GLAMOUR BEGINS AND ENDS ON AN ULTIMATE LIMO RIDE

® te, ry
edt Ee takes place in the glamorous world of the Big City and the Wild Life story and leadership team knows
that glamour begins with a ride in an ultimate limo! Kitty and Red, two of our main characters, travel throughout Big City in an

outrageous limousine and we felt it was important to simulate that experience. We boarded our forty foot stretch in front of Feature
Animation Southside while the paparazzi crowded around. Well, really it was just a few folks from clean up crossing the street going

for a late lunch. But it was glamorous!

Inside the sleek glitz machine all fourteen of us were (ahem) comfortably seated and whisked away for a three hour tour. Director
Howard Baker screamed, "Take us to Hollywood!" Our levelheaded driver, Rose, insisted, "You ain't seen nothing yet", and jettisoned us
to the fabulous city of Riverside to the Ultimate Limo garage. Three bottles of sparkling cider later, we found ourselves in the midst of

a very large collection of very large automobiles. These land whales were packed with extras like full bars, TVs, CD players, disco
lighting, tinted windows, surround sound and a

jacuzzi. All of them were upholstered in rich
Corinthian leather. Piling out of the dream-on-

_g Wheels under the glaring Burbank sky, Director Roger
gs Gould observed, “Our trip has ended, but now there's
= a little bit of glamour that will stay with us -
always."

PRS s SOROS

TWILIGHT

BARK- MAY

17:1299

Kingdom of the Sun z
invites you to meet their
new Head of Effects,

Mauro Maressa

auro Maressa is our resident Grand
High Wizard of Effects on the new
Kingdom.

He studied at the New England School
of Art and got his BFA majoring in
sculpture from the University of
Massachusetts, Amherst, where he also
minored in printmaking and education.
One of Mauro’s first jobs out of college
was teaching art to first through fifth
graders. He remembers telling them that
they “didn’t have to stay inside the lines.”
Instead of having them draw flowers or
make clay ashtrays, he would have the
children write their own stories. He taught
them how to translate the written stories
into Egyptian hieroglyphics, drawing the
pictographs instead of writing words.

Mauro first came to Disney as an
animation trainee under Eric Larson in

1978. Eric always told him,

"Never think you know
everything. As soon as you
do, someone shows you a
new way to do things."

Next Mauro served a three-year stint as
a character animator at Hanna Barbera,
where he worked with Irv Spence, Hal
Ambro, Don Williams, Ed Ardell and
Volus Jones. Their projects ranged from
Godzilla to The Flintstones to his first
feature, Heidis Song. He freelanced on
Heavy Metal and then on Fire and Ice
where he got to work with one of his
heroes, Frank Frazzeta.

In 1982, Mauro returned to Disney to
work on the EPCOT Energy Pavilion,
"Meet the World" for Tokyo Disneyland,
and The Black Cauldron. But he was soon
lured away by live action and the
burgeoning world of special effects.

TWILIGHT

BARK-MAY

the new

Next Mauro worked for nine years as
an effects animator and later as supervisor
of animation at Boss Films and Perpetual
Motion on projects like Poltergeist 2, Big
Trouble in Little China, Bill & Ted’s
Excellent Adventure and Alien 3. He had a
far-reaching learning curve that took him
from shoots on the soundstage, to shooting
on the downshooter, to creating traditional
2D animation. He fondly remembers the
"Hibachi" downshooter at Boss Films that
could pitch, yaw, rotate 360 degrees, move
North-South and had motion control
capabilities. One of the most challenging
projects they had on that camera was for a
Total Cereal commercial. They had to fly
the vitamin descriptions onto the box. In
the pre-computer era, it took two weeks to
plan and execute the move. On Batman
Returns, he was able to use the
"downshooter trickery" to fool his crew
into thinking that he had actually gone out
to shoot footage of the moon and clouds,
when it was an image that he created
completely in the downshooter.

On returning to Disney again in 1993,
Mauro made a conscious decision to
pursue effects animation. "It has more
freedom than character animation. Design-
wise, it gives you the chance to work on a
wider-ranging palette, with more variety.
Its always a new challenge." He says that

17,1999

The Grand High Wizar

he finds inspiration in the work itself and
in keeping conscious of everything that’s
going on around him, especially natural
phenomena like "raindrops in a puddle, the
way dust flies off a kid running in the dirt,
the way light reflects off water or chrome,
or how the light changes when a storm
approaches.”

His crew on Kingdom is "one of the
best crews he’s ever worked with," not
only in terms of talent but also in the way
they interact and collaborate with one
another. They are very much like a family.
Right now, the Effects team’s challenge is
to make a rediscovery of "retro-effects" -
using the contemporary tools that we have
such as CAPS and 3D to get the retro look
of classic Disney films like Peter Pan and
Alice in Wonderland. "Our main goal is to
accommodate the budget and the schedule
without shortchanging the film. We as
animators want to be able to identify the
effects on the screen as the same as what
was invisioned by the effects animator on
his drawing board.”

Mauro is looking forward to seeing his
work on the big screen again, as we move
ahead on the new Kingdom.

N E Ww S . A N

FORUM

; aN Marge Randolph
at

Wednesday, May J 7
12:00 to 1:00 -~ —
Southside 13 00

cna May a
12:00 to 1:00-
Northside 3010

an informal lunchtime talk session. ey j
-= issues will be discussed, slong » with ao ;

- Bring your lunch and join Marge Randolpl: for |

LO, =" Tip of the Month:

_- Here's an easy way to find out what their exact email address is:

In QuickMail:

1. Create a new QuickMail as usual.

4. Click Send.

which business unit or division the address belongs to.

includes some part of the name you are looking for.

. Greetings email users!

So you're trying to locate someone outside of Feature Animation at another
business unit to send them an email, but you're not sure if they include an
initial in their email address or if it's Bill or William.

2. From the Master address book, select "Query by Mail" at the top of the address list.

3. In the Subject field, type the last name or part of the last name. So, if it's someone
with the last name of Duck, type "Duck"(but don't include quotes). : 2a

5. A minute or so later you'll receive a reply from Postmaster that includes a list of email
addresses that match the criteria you gave: The actual email address you need to use |
follows the line marked ‘Internet:'. Other information is provided with details about SR REA LAER A

In unix mail, you can send mail to query.by.mail.mailhub @ disney.com with a subject that :

For more information on QuickMail and examples of query.by.mail, go to
http://fawww/mad and check the support resources area.

TWILIGHT

Dailies is for Feature Animation employees
only & not for friends or family.

DAILIES SCHEDULE
every Monday
Northside Southside
Main Theater Theater
11:00 a.m. 12:45 p.m.
11:30 a.m. 1:15 p.m.
12:05 p.m. 1:45 p.m.

17,

BARK:MAY

National Cartoonists Society Recognizes Chen-Yi of Mulan
A Recap of the 1999 Reuben Awards

The National Cartoonists
Society (NCS) held their annual
Reuben Awards on May 6-9 in
San Antonio, Texas. The 53 year
old NCS is an organization of
professional cartoonists from all
forms of media. The Reubens are
named after Rube Goldberg, one
of the founding members of the
society.

On Friday, May 7, several
inspiring seminars took place. The
speakers included Jeff MacNelly
(Shoe), Charles Schulz (Peanuts),
war cartoonist Bill Mauldin, and a
panel of female cartoonists,
including Lynn Johnston (For
Better or For Worse) who spoke
on the topic of women in
cartooning. One of the truly
amazing things mentioned at
is that Jeff
MacNelly draws his comic strip

these seminars

on the
Photoshop
tablet.

computer using

graphics

and a

and Tony Bancroft
s the Menace daily
Hamilton

(Below) Tom
with Denni
cartoonist, Marcus

TWILIGHT

BARK:-MAY

by Chad Frye

Saturday night was the big
awards dinner. Awards were given
for various categories in
illustration, comic strips, greeting
cards, and animation. While Will
Eisner won for Cartoonist of the
Year, we are happy to announce
that Chen-Yi Chang won in the
Feature Animation category for
his beautiful work on Mulan (for
which Mulan Tom Bancroft had
also been nominated). Chen-Yi
joins the ranks of our own Joe
Grant and Nik Ranieri who have
previously won this award.

ITa???

Next year the Reubens will be held in New York City. If
you would like to find out more about the NCS and the
Reubens, take a look at www.reuben.org or call Chip

Beck at (703) 241-0804.

X Display Dutes and Locations.

Southside (lst Floor)
and

Northside sibs s Corridor)

AB T .
lend the Beast
| Special A E

-< For Full Tim Wat D Disney. Feature Animation
' Employees only. `
e One cel per employee.
e Make check or money order payable to The Walt
Disney Company

$

\\ » Fat FP, wnch ase
Orden Fo

e Payment must accompany order (sorry, cash not
accepted)

iio @ Send your A E anihi hir andes iomh may

a maor p post natae; to. May 28.

~

~
ve

Send this form with your check to i AN @ Mail Code 7450. l
Orders will be silane Gkal May 28, 1999 A receipt will be mailed within one week to each employee once their

check is received. If you forward your check and do not recéive a.»

(uiia ORDERS WILL NOT BE ACCEPTED) receipt, please contact Janien at 8247 x2532.

Name: Á- Mail Code:

Tie Line & Ert a ~Hame Poe
Building’ Stadio: == I epia AA
ef
Cel Choice #1 - The Wardrobe - $275 SAE
(Circle One:) pny a P pu
#2 - Feather Duster, Mrs. Potts, Lumiere and Cogeworth - $340 ff ya

#3 - Belle ef Beast - $245 eg A A
#4 - Mrs. Potts ef Cogsworth - $300 iii ar

Cel Purchase Agreement (Please sign and date to process order) f in sO

The following agreement must be signed for your order to be processed. If you do not sign the agreeme ít your air c

processed and your check will be returned to you. I understand that WALT DISNEY FEATURE ANI

not be

TION (the "Company")

years from delivery; and any attempt to sell or transfer the cel during this five year period (or any
hereof) will result in forfeiture of the cel.

SIGNATURE DATE \ }
DES S k an ow ial > oy =. . $
4 = ” i RS % ` A ie ti a, i a j ` on Š %
E E $ 5 a ows = Pas : px DA ri : $$ Ei j eY
‘ e ý -3 i s ^ Pd i

and (3) I will not sell, donate, give away or otherwise transfer the cel (which will be numbered and stamped) for a period lof five
gher violation of the terms

eae oo RI. C an

2 E
w ’ "5 \ “Human Again iy Pa \

> E x 4 : 5 tate
Bh RA A — 4 = aaa ann $
At Dy Per ` 4 ote f; li at i >
A we ? y Nw, na = Nn Racer n ? _ % 3 WN
be P matt ree ? K : ars oft A
3 a y & à E K v Re x ,
mo r ` à $ ` x of, F y sA, age hi
$ a Pa 7 l 2 or Ne. 2 ae pi

TWILIGHT BARK..

W ÁA

It’s a bit of a jungle out there for Phil Collins, but Disney loves his tuneful contributions to “Tarzan”

excerpts from the Los Angeles Times, May 2, 1999

shooting, but the atmosphere in the

west London studio remains
relaxed. [Phil] Collins, 48, dressed in
dark Armani, sits in front of a blue
screen, rigidly still, lip syncing his lyrics
repeatedly as rotating lights whirl over
his head, illuminating those thinning
locks now worn in the style of a mini-
Mohican.

IÈ mid afternoon on the final day of

This, after all, is the drummer who
preferred to be in two bands rather than
one (Genesis and Brand
X); to have a
skyrocketing solo career
at the same time as
belonging to a touring
super-group; a man
who supposedly only
had enough free time to
read two books (both
jazz biographies) in two
decades; to be the only
person to play in two
sites, London and
Philadelphia, during Live Aid; and-
perhaps not unrelated to the above rota
of endless ambition and application -
the man who has two wives and two
divorces already behind him.

Meanwhile, as the British press has
moved on to newer and juicier targets,
after attacking Collins over his divorce
from his second wife, Jill, he has been
able to live out of the spotlight in
Hermance near Geneva in Switzerland
with his girlfriend, Orianne Cevey.

Collins seems to have adjusted to his
new position.

“It’s quite possible that maybe I’ve had
my 15 minutes of fame — well, I’ve had a
couple of hours, not 15 minutes really,”
he reasons. “I haven’t done badly. And
I’m quite well-adjusted philosphically to
that idea. I’m not craving the attention.”

TWILIGHT

BARK:MAY

Collins speaks these words sincerely
enough and talks engagingly about his
contentment with Orianne and the
pleasure he takes from having seen more
of his three children in recent years, and
yet it’s difficult to believe him entirely.

Not least because as the Tarzan project
nears completion after four years’ labor
on his part, Collins senses that maybe he
might have a hit on his hands. Lighting
engineers walk around the studio
whistling “You'll be in My Heart”’s (sic)
undeniably catchy
refrain. More tangibly,
the single is picking up
strong radio airplay.

Tarzan boasts the
latest innovation in
animation, a technique
the animators call
“deep canvas.”

Explains the film’s co-
director, Kevin Lima:
“We integrated three-
and two-dimensional
animation so the camera can move in
this movie in much the way it does ina
live-action movie, not just flat against
the artwork but into and around the
artwork.” It gives the ape man’s
movements a startling kinetic credibility.

dimensional

Even if the film boasts the latest
technical innovations, Collins is as
aware as anyone of the importance of
songs to a successful Disney film and
also of the heritage of the Disney back
catalog.

“I know what those songs have meant
to me in other films,” he recalls, “and the
effect they've had on my kids, and I
didn’t know if I’d be capable of the same
thing.”

When Collins confronts a challenge
that takes him out of his depth, his
typical response is redouble his efforts,
and he admits he has “gone the extra
yard” on Tarzan.

Lia to ey

Collins also had to adjust to the new
demands of writing for an animated
soundtrack. His involvement began
with an initial meeting with executive
music producer Chris Montan, directors
Lima and Chris Buck, along with Tom
Schumacher, Disney’s president of
feature animation and the man largely
responsible for bringing Collins aboard.

To hear Schumacher tell it, “It was
originally the idea of Chris Montan to
get Phil involved, and I said, ‘Oh, these
big famous guys, they make me so
nervous because they’re really hard to
get timewise.’ But it just wasn’t like that
with Phil, and when Chris gave me
Phil’s demo, I listened to it and I burst
into tears and gave him a big kiss and
said, “We have the right guy!’ ”

Montan said he certainly was
impressed by the amount of effort
Collins put into his work.

In a burst of rapid creativity, Collins
wrote those first four [songs] over two
weeks, but then realized that the hard
work was really just the beginning.

“The mixes, the endless mixes,”
Collins says and laughs.

There’s no hint of complaint in Collins’
words — he’s delighted to be presented
with a new and difficult challenge.
Certainly he seems enthused by both
Disney and this new direction. He’s
keen to emulate Tarzan composer Mark
Mancina and make his next project a
full-fledged soundtrack, while he is
generous in his praise of all involved
and dubs Schumacher a “genius.”

From an executive standpoint,
Schumacher explains, “When Phil got
involved, he knew our commitment was
profound. When you come in and see
400 people working on a movie, it tells
you someone cares about it. Plus there’s
a sense of legacy about a movie like this.
It will outlast all of us, and that’s a fun
thing.”

Figure Sculpting with Ron
Pekar!
sponsored by Artist Development

Who: This class will be ave
production artist=>~
ZA

When:

Where: Southside
Multipurpose Room (L600)

All supplies will be provided
No food will be served.

Tom Sito’s

an Evening with...

a 39 r. Jack Zander

Join host Tom Sito and spend an evening with Jack Zander, who has been in the business
since the early 1930’s and was one of the best Tom and Jerry animators at MGM.

3 4 Only $5 in advance or $7 at the door for this rare opportunity to meet and converse with
coe an animator who's worked with them all. For more information, please call (818) 842-8330.

A
TWILIGHT BARK-MAY 17.1999 a

(Left) Lella Smith greets Marty
Prager and all the guests at the
terrific ARL Open House.
Thanks to all the ARL staff and
volunteers who made it a special
evening!

(Left) Some things
never change! Gil
Green is ready to
greet visitors at his
beautiful new desk

eel Dileley

Diana Coco reminisced about the days when
what is now the new ARL was the old 1420 Flower...

“This building used to be so industrial and uninspiring, though we made great
movies here. It's an amazing transformation. It's encouraging to see that the great legacy of art is
being taken care of. The dedication of our Company to conserve this is very satisfying. Having the access to the
art makes me feel like great artists of the past like Freddie Moore are still here and contributing to our work.”

ARL Operating hours:
Monday - Friday 9:00 a.m. - 6:00 p.m.

The ARL is open to all Disney employees, free of charge.
Reservations are not required, however they dre
recommended to ensure that a researcher will be
available to assist you. Call (919) 544-4100 to schedule an

appointment, or for wore information.

TWILIGHT BARK:MAY

17 ,t 39

L etti ce and Lovage!
at 8:00 p.m.and Sundays at 2:30 p.m.

, de a The Twilight Bark has two patras of tickets to give away.
Feature Animation’s own Staci e Twilight Bark hay two pairs of o gwe away

assistant to Dorothy McKim an
has produced a revival of Peter Sh
Lovage now piaying through Jun
extension through June Na at t the

Enter the contest below to win a pair for yourself!

Lettuce and Lo Vac

Contest Entry Form ¢ ¿>
Holes FREE Tickets /

his Actor’s Co-op productio

Name:

"Critic s Pick" in L.A. — a4
— Tie Line & Ext: ———— Mail Code:
aye Io: : | - Building and office location:
FOSSICY HIRAI | Name another play written by Peter Shaffer:
1760 No. Gower St. Hollywoi

business kavat

Fifty vendors 5 plus ; several Disney business unit

Raffle technologies and resources that can help make y
prizes? cost-effective, efficient, and productive. _
Hourly vendor demos and other hi
sessions will be offered. k 2

cappuccin®
gar!
TWILI i in K -

MAY 17,1999

F E AT U R E À N | M AT | O N To apply for a position with the Feature Animation California

and Florida Studios, please submit a current resume and a
Ç A R E E R O p p O R T U N T i E S cover letter stating the position(s) in which you are interested
with a completed JOBS Application to the Human Resources

SSeS ee contacts listed below. Questions regarding transfer policies

and procedures can be directed to your JOBS Program
CA LI FO R N | A Aaministrator.

DIGITAL PRODUCTION (contact Pamela Focht) Where to Find a JOBS Application Form:
e Model Dev Tech Lead (all productions) e Southside - First Floor near the ATM

e Northside - First Floor near the ATM
OVERHEAD/PRODUCTION i Saeta k ima! ; ee era #5198
MANAGEMENT cia :
(contact Gina Aarniokoski) Send Resume,Cover Letter and JOBS Application To:
e Secretary to the Director of Recruitment Via Inter-Office Mail:
e Twilight Bark Editor e For California positions: Christy Bundy, mail code 7454
e Production Dept. Secretary, Treasure Planet e For Florida positions: Jo Wentworth @

Florida Feature Animation Building
FLORIDA Please submit your resume (without the use of special fonts,

bold or italics) on plain white paper. Please note on your
cover letter or fax cover sheet, “RE: Bark/Rabbit

e Render I/O, Technologies

write “Twilight Bark” in the Job Number field.

Questions Regarding the JOBS Program:

e California: Christy Bundy at tie line 8247 x2528
(christy.bundy@disney.com)

e Florida: Jo Wentworth at tie line 8264 x3178
(jo.wentworth@disney.com)

Other Company-Wide Career Opportunities:

View other positions available within Disney Business Units
and Affiliated Companies at:
http:/www.disney.com/DisneyCareers/index.htm!l or Career
Mosaic on the World Wide Web.

ieee B ARK

is an internal weekly newsletter for the entire
California Feature Animation division of The Walt
Disney Company. The name comes from
101 Dalmatians and references the film's “Twilight
Bark” used to spread a message throughout the city.

HOW TO REACH THE TWILIGHT BARK:

If you have news, ideas or suggestions you'd like to
share, please address them to The Twilight Bark
Editor, at mail code 7410.

Twilight Bark
Walt Disney Feature Animation
500 S. Buena Vista St.

Burbank, CA 91521-7410

Tie Line 8247 x2538 ° (818) 558-2538
Fax (818) 558-2540

Quickmail: Bark, Twilight
e-mail: twilight.bark @ disney.com

TWILIGHT

BARK-MAY 17,1999

17 MONDAY H TUESDAY -

Life Drawing Class ninst structed Clothed Uninstructed Clothed

Steve Huston «5-6 200 Figure Drawing Lab Figure Drawing Lab

Southside » RSVP 2008 wate? 1 9 p.m. * Northside 42-2:00 p.m. + Southside
RSVP > 8489 x4119 RSVP 8228 x8 162

Life Drawing Class
Jeanine Breaker * 12-2:00 p.m.
Southside + RSVP 8228 x8162

2
19 WEDNESDAY THURSDAY

_ Life Drawing Class
-Jeanine Breaker « 12-2:00 p.m.
Northside + RSVP 8489 x4119

Ain Evening with
Jack Zander

see page 9

¥
AS ean A

21 FRIDAY

DA

Life Drawing Class
Glenn Vilppu * 5-7:00 p.m.
Southside * RSVP 8228 x8162

ARL Open House

28 FRIDAY

Performance Gesture Class Uninstructed Clothed Uninstructed Clothed
Bob Kato « $2-2-00 o.m. Figure Drawing Lab Figure Drawing Lab — LAST DAY TQ ORDER
Southside « RSV: 8228 x8162 12-2:00 p.m. Ħ Northside Beauty and the Beget

RSVP 8489 x4119

Life — Class
Steve H 30 DM.
PPEP : RSVP 8228 x8 162

Life Drawing Class
Jeanine Breaker * 12-2:00 p.m.
Southside e RSVP 8228 x8162

-42-2:00 pm. + Southside — es
RSVP 8228 xB162. :

Life Drawing Class —
Jeanine Breaker * 12-2:00 p.m. Glenn Vilppu ° 5-7:00 p.m.
Northside + RSVP 8489 x41 19

“Human Again" Cels?
-Life Drawing Class Rea

Southside e RSVP 8228 x8162

Talk Sessions with Marge Randolph

Southside 1300
12:00 - 1:00 p.m.

7:00 Southside

save the date - upcoming events

Lunchtime Event
MOVIE

NIGHT
Election

has changed to

Fri, June 4

at the Studio Lot (

Monday,
May 24

7:00 p.m.

TWILIGHT

Disney
CLOSED
o

Northside 3010
12:00 - 1:00 p.m.

Business Technology Showcase
see page 11

CLASS IS IN SESSION

Where’s Walt Stanchfield?

Due to personal matters, Walt Stanchfield’s
gesture-drawing classes at Feature Animation
are postponed until further notice. Artist

. Development will issue Stanchfield’s drawing

notes upon his return.

Karl Gnass
Karl will be on vacation for two weeks. His

Thursday noontime classes at Southside will
be cancelled on May 20 and 27.

BARK-MAY 17.

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