Doodle BugFor The Arts, Design and Self Expression

ContentsDesign in Disney p1Spirograph - The work of designer Stephanie Leiwald p 4A quote to inspire p8

p10 And something a little different...“The Show Goes On...” We go backstage with actor Muzz Crandon p12

Design in Disney

A look at the work of animator Glen Kane.

faces that we all grew up with at one time or anoth-er and the faces that eventually turned

people however were

designed. Disney is universally acknowl-edged as one of the biggest - if not the biggest - animators in the world and the characters that have been

created over the years have

become recog-

nizable world-

wide.

During the Disney Renaissance many of the most icon-ic characters were designed by one man. Glen Keanes. Who brought to life some of the characters such as Ariel, the Beast, Repunzel and Alad-din.

However his creations were not made up overnight.

In “Beauty and the Beast” (1991) the titular beast went through

variations before settling on the iconic design

of the beast.Some of the original designs made the Beast appear too comical - par-ticularly when the Beast was given a hogs head and the

Pumba in a large white wig – or too frighten-ing – when he

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appeared more like a large black lion.

-tled on combing elements of

and bear.

Having a human aspect was incredibly important for Keanes design and worked by three simple rules for himself while he was designing the

he couldn’t look unnatural or alien, the second that is that despite being frightening the character still had to appeal to

for the story one of the most important is that Belle would be able to fall in love with him.

design was the one that stayed

was always intended to have -

ed by designer Glen Keane to show the audience that the Beast was still a person despite his animalistic appearance and so that he would be recogniz-able to the audience when he returned to his human state.

“Beauty and the Beast” was not

Kane helped bring to life . He also designed the heroines for

arguably very apparent that the same person designed Ariel and Rapunzel as both share similar characteristics, the distinctive large eyes being the most obvious.

In an interview Keane said “I have always used my own family as models. Ariel was my wife, Tarzan was my son, I was Beast and my daughter Claire was very much the inspiration for Rapunzel.” His daughter Claire was not only the inspiration for Rapun-

a pivotal scene in “Tarzan” when Tarzan and Jane meet

reach out and touch hands. He

time his new born daughter put her hand against his and realized that, the feeling that he had then was exactly how Tarzan would have felt when he reached out to Jane for the

Ariel being based on Keanes wife is also the reason that she frequently bites her lip during

her little mannerisms and gave them to his characters.

“People are who they are by the way they react to things.”

Taking characteristics from real people and giving the to his characters helps the audience see them as so much more then two-dimensional

have emotion in their eyes and life in their movements.

Keane understood that more then anyone.

“Suddenly, animation became for me not so much about

moving stuff as it was about moving the audience.”

He once said:

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The work of Stephanie Leiwald an art student ready to take the world by storm.

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Twenty-two year-old Steph-anie Liewald is currently

textiles at Greys School of Art in Aberdeen but if her work is anything to by she will be one to watch.

With bold dreams and even bolder designs and dress sense she is ready to take on the fash-ion industry.

Originally coming from Car-denden in Scotland she has was raised in both there and Dhabi with her German and Scottish parents.

She has always found a vast amount of inspiration for her designs from science. She comes from a family of chem-ists and scientists and sur-

found a huge interest in cellu-lar forms and DNA structures.

Her work is always based around geometry and cel-lular formation, which was shown when she produced

and exciting series of men’s clothing was shortlisted for the Duchamp Men’s Wear com-petition last year. Duchamp is a London based menswear company.

Using mens DNA as an in-spiration she then visited the Edinburgh University research labs and had the chance to look under microscopes at cells. She found this intriguing and was amazed at the beauty of human DNA and the double helix forms the microscopic detail when looked up so closely hasa beauty to it. She gathered her images and started base designs for men’s shirts.

futuristic and colourful the colours were bright and loud

own fun and bubbly personal-ity. She managed to get great success and acknowledgement on her designs and ended up achieving a place on the short list for this work

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Her process involves using a spirograph – a simply contrap-tion that uses weights to draw intricate swirled designs on a piece of paper. – to draw out one of the swirled designs then simply changes the pen in order

colour and add layers to the

design stage Stephanie then puts the pat-terns into the computer where they are edited through photo-shop. Colours

tweaked and sometimes inverted for example the two dresses shown to the side are made from the

same pattern only it has been inverted.

When the colour has been decid-ed Stephanie then chooses what section of the pattern she will use then she reproduces it so the pattern is duplicated numerous times

together com-

that the image is once again subjected to editing. At this stage she will

design multiple times so that she can use the same design in many

puts it onto the design, typically she produces dresses and t-shirts and she

is focussing on woman wear for

show.

“As a working artist I feel very pas-

sionate about my work and I’m the

-

spired by the weirdest and most won-

derful things.”

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Clouds come

Not to carry rain or usher storms but to add colour to your sunset sky

Quote to Inspire...

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but to add colour to your sunset sky...9

Get Inspired!

Sometimes we all just have those days where getting the creative juic-

-ever sometimes it can take some of the smallest things to spark inspira-tion. Here are 10 tips to help you get some ideas! ?

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1) P eople watch – humans are a strange species and there

quirks that can spark and inter-est in an artist or writer. From a design point of view they could be wearing something that is unusual or interesting.

2) Watch a movie that makes you want to get up and do something.

3)

that comes to your head, regardless of how dull or eccentric it might be.

4) Pull out an old draw-ing and try re-drawing it with a new twist.

5) Try something new and exciting – Like a new sport or a new type food

6) Go outside! – It’s easy to get into a rut when you’re sitting looking at a blank sheet of white paper. Go outdoors and take a walk, go into town and experience all the sights, smells and sounds the world has to offer.

7) Look at the work of someone who’s work you enjoy…it might spark something off that you’d like to try.

8) Keep a journal. You never know when a past emotion could inspire something great.

9) Music can be powerful. Put in your headphones turn up the tunes. Music could give you an emotion, a theme or even a story.

10) Accept that on some days you feel much more inspired than on others. It’s completely normal not to be inspired ALL the time. Don’t get down on yourself when you can’t

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of “Blitz Entertainment” Muzz Crandon before a performace.

The Show Goes On...

neat white house on a street that boarders upon Suburban cliché. It is a tall, two story building with a small garden and a path of stepping stones

front door is a bench at the front of the house made from wood and painted white.

Murray Crandon throws open the oak front door smiling widely, wrinkles appearing across his forehead and at the corners of his mouth.

“Come in, come in. Just make yourself at home.” He encour-ages cheerfully. He is a man of medium height with warm brown eyes, wearing a pur-ple polo shirt with the words “Blitz Entertainment” in curled

side. A pair of dark burgundy converse pokes out from under his dark blue jeans that are frayed at the hems.

Muzz – “It’s just Muzz...Not Murray, haven’t been called that since I was a kid.” - leads the way into a large room or as

Inside there are hundreds of costumes are hung up neatly on rails that surround almost the entirety of the wall space.

time periods and styles. All the way from Victorian coats, to seventies platform shoes and pirate hats.

On one of the shelves sits a

crawled across it in dark red lipstick that has been faded by time and dust but is still visible against the glass. Next to the

swords are shelves, holding manikin heads sporting wigs of

He holds up a dark blue, Vic-torian jacket. “I wore this one when I was in a musical called

-

the bottom “It’s gorgeous isn’ it?” He looks at it for a moment and lets out a small sigh. “It was a beautiful show, but my god was it stressful.”

He had been playing the same role in various productions of the show for almost eight

years and was still a critical part of the shows development process.

He gently brushed a piece of

so much out of me, the con-

stant stress I mean. I directed the show. Starred in the show. Poured my heart into that show…every single day was monopolised by that bloody show. I eat, slept and drank it y’know?” He squeezes his eyesshut for a few moments rubbing his temple very gently. “I can’t do it again. I’m not doing it again. No way.

as he hangs the coat back on

“Alright…maybe I would…Eventually.”

His wife Bobby rolls

eyes from the doorway, but smiles slightly as she does so. She is an older woman with a dirty blonde bob and swaddled in an old grey cardigan. She had earlier aired her concerns for her husband.

Muzz has been trying to take things easy as he enters his mid-sixties but alack of men working at Blitz entertainment means that he has been unable to fully hand over the reins this is not helped by the fact that he has recently undertaken heart surgery.

In an attempt to change the conversation he picks up a small crown, covered in gold glitter and tiny plastic gem-

when I was down in London. We’re planning to use them for our medieval banquets… For the Prince and Princess.”

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All images used are promotional images used with kind permis-sion from “Blitz Entertainment” and can be found on their Face-book page.

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He admires it from a moment passing it from hand to hand, throwing it up slightly in the air. “Pretty good deal too. He told me they were solid gold

around his eyes and upon his forehead deepen as his laugh-

---

impressively furnished. A model of an ancient Egyptian

and a little bright red model of

table in the corner, an exact miniature replica of the pris-tine car sitting in the garage.

sofa made from light pink

in both hands. He throws his free arm across the back of his seat and wriggles his behind

phone clutched in her hand.

her eyes and heavy wrinkles across her forehead. “Charlie can’t do it either.”

“Why not?” Muzz’s smile

the air, letting out a frustrated groan. His relaxed posture has

completely disappeared and he its upright, brow furrowing. It

was unavailable to perform in a murder mystery that evening.

“Her daughters got hand, foot and mouth disease apparently.” She sighed placing the phone down and sinking slowly onto the other pink sofa.

His eyes almost pop out of his head. “She’s got what?”

She picks up her iPad from the sofa with weary hands and quickly looks it up online. “Not the same as the one cows get. It’s like chicken pox.”

about it too much love. I can always stand in if I have to”

“I can’t help it!” He throws his feet up onto the sofa as his hand gently massages his chest and he murmurs, almost to himself. “Nothing seems to bloody work!”

“I know love, I know…” He grumbles, his hand gently rubs his chest with

one hand falling silent for a moment.----

strutting forward wearing a long white shirt with three or

open to reveal the Star of Da-vid on a chain resting upon his hairy chest.

He catches sight of his own

mirror and lets out a bark of laughter. “I should dress like

long that it reaches his knees and swings from side to side as he kicks his bare legs back and forth, wiggling his toes in thick grey socks. He is met with a couple of unenthusiastic gig-gles by the rest of the company.

14Muzz backstage at “Monboddo: The Musical” in 2010

“Well chicken pox isn’t that bad. Couldn’t her hus-band watch her for the night.”

“She said Rob was working tonight.”

“Nothing ever seems just to work, does it.” He reached up and rubbed his temple. “Every time we try to organize one of these things we always have to bend over backwards to

never let us know on time and we keep having to

time.” In that mo-ment it is as if all the

He sagged

further into his chair. “We have to put in people who are wrong for parts.”

“Try not to worry

dance studio with large, shining mirrors places against

mystery cast are sitting around getting ready, having a bite to eat or looking over their notes for the performance.

Muzz is staring intently at the mirror as he opens his make-up bag with the black base and

full of make-up sticks labelled “Brick Red”, “Night Black”,

scattered about in a small heap next to a set of large, yellowing teeth that look like they came straight out of the “Austin

Near them are several pairs of antique glasses. One of them is a small grey pair of round glasses that have lost their shine from years of use and being kept in boxes and cases and some pearls wrapped up into neat circles and set in a plastic box.

personal collection.” He grins,

. His grin only increases “Maybe not then.”

He turns back to the mirror to continue with his transforma-tion with the transformation into tonight’s character. He slowly drags a black eye liner across the bottom of his eyelid with a steady hand, biting his lip as he concentrates.

He then pulls a black wig over

down his back tied in a glossy ponytail with a red ribbon.

pulling on a pair of stretchy white trousers – Also suppos-edly from his personal col-lection. Around his waist he wraps a bright red sash before shrugging on a large yellow jacket covered with delicate

suitably covered in small stains and rips, some of the embroi-dery on the coat is coming un-done and there are dark brown stains upon the sash.

“You nervous tonight?” One of the other cast members Flip asks him, as she adjusts her dark brown “Joans Collins” wig over her own short blonde hair.

“Not really.” He takes a seat in one of the hard plastic chairs and sets his feet up on a nearby table. He has been performing for so long now it has become second nature to him. He’s por-trayed everyone from Victori-

is suitably covered in small stains and rips, some of the embroidery on the coat is com-ing undone and there are dark

brown stains upon the sash.

“You nervous tonight?” One of the other cast members Flip asks him, asshe adjusts her dark

brown “Joans Collins” wig over her own short blonde hair.

“Not really.” He takes a seat in one of the hard plastic chairs and sets his feet up on a nearby table. He has been performing for so long now it has become second nature to him. He’s por-trayed everyone from Victori-an men, to a French policemen to Freddie Mercury, complex

moustache and three octave vocal range.

As Muzz steps out of the room

check something with the hotel

Claire, one of the cast mem-bers, says “It’s not good for

“All this stress I mean…”

“I know but He’ll never fully stop. He’ll just keep going.” Flip adds taking as sip of water straight from the bottle. “I don’t think he’s got it in him to give it all up, he loves it too much when

he’s out there.”---

the audience, seated at little round tables covered in jewels

-stage worries and stresses com-pletely forgotten, lost in his

character. He strides through the tables his arms making grand gestures as he speaks.

mate of the Dark Dancer pirate ship in 1818 from the top of

his head to the tip of his toes. His vocal pattern has changed completely, dropping conso-

odd word in order to make himself sound more like a pirate.

He falls silent, stopping speak-ing mid-sentence.

His eyes locked on the back of the hall. He moves towards a table near the back with wide striding towards a grinning from ear to ear. “Wha’ ‘ave we

got ‘ere.” He says trying not to burst out into sniggers.

He grabs a teenage girl by the hand and leads her to the front.

“What’s yer name?”

moment of total silence before the entire room bursts out

to foot, and dressed in a large red parrot costume complete with a hat shaped like the head. It’s so large it looks as though she it looks as though she is

costume; it swings around as she is paraded in front of the other guests.

“Are you nervous?”

“Not Really?”

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Muzz shakes his head slightly, giggling into his

he tries to hold back the laughter and remain pro-fessional. He later con-fessed that in hindsight he should have asked her if she wanted a cracker.

room for a brief mo-ment and Muzz rounds on another member of the audience.“WITCH!” He bellows at the rather stunned looking woman. She’s holding a camera in her hands and had the misfor-

a slight giggle meets his outburst he tries again:

“THE WITCH IS TRYIN’ T’ TAKE OUR SOUUUUUUULS!”

everyone gets the joke at the same time.

woman quickly shoves the camera back into her bag and doesn’t take any more photographs for the rest of the evening.

---“Ladies and gentlemen, playing the part of Jay Y Kelly was Mr Muzz Cran-don!”

Muzz steps out of the line up to take his bow.

gentlemen, if you’ve enjoyed tonight’s perfor-mance tell everyone…if you haven’t tell nobody!

-

night!” He raises his arm high and sweeps it to the ground in a grand ges-ture, nodding his head graciously at the round of applause.

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