Between Books - The Art of Meet the Robinsons

I thought I had the perfect plan.

I had never read or reviewed an “Art of” book.  And I love Meet the Robinsons.  So I thought the fairest way for me to a review an “Art of” book was to review The Art of Meet the Robinsons by Tracey Miller-Zarneke.  The book had to be a instant delight for me, it could not fail.  Instead I discovered I may not know what to think of “Art of” books. 

The Art of Meet the Robinsons is a short book that highlights concept art from the movie.  This art ranges from story sketches, color studies, concept art, and full paintings.  There is smattering of commentary explaining artistic choices and intent in character and setting design. 

The good of the book is the art.  It is the intended highlight of the book, and it is more impressive than the text.  Honestly I would have enjoyed more art mostly due to my love of the movie.  But I really loved some of the details you do not get a good glimpse of in the movie like the Robinson Industries posters.  There are also some interesting facts that I did not know including the fact that director Steve Anderson was an orphan like Lewis and that Lewis originally was to see a monorail when Wilbur gave him a tour of Future City, Walt Disney would have been proud.  But again,  I am the guy who could have used more.

“More” may be how I would summarize how I felt in general.  I wanted more art and I definitely wanted more background.  And I wanted more pages, there are only around 60.  I wanted to spend more time in the book, but with it being so short it was a quick dive into the world of Lewis and Wilbur.  I wanted the book to appear more like an adult book.  I easily could put this volume on my shelf next to children’s storybooks and it would look like it was at home!  I wanted more discussion on the design of Todayland, actually I wanted some since there was none other than art.  Though this book is no longer in print I would really felt disappointed if I paid the original suggested retail price of $17.99 for this volume because I wanted so much more.

I feel like either I do not understand “Art of” books and their nature yet, and if this is a representative sample I am going to struggle through these.  Or maybe this book demonstrates a problem that I have felt with Disney when it comes to Meet the Robinsons, a feeling that this film has been treated as second class.  I was introduced to Lewis, Wilbur and the Man with Bowler Hat at a meet and great at Disney-MGM Studios, yeah it has been that long ago!  I had no idea what their names were!  And I had to be dragged to the movie, which I knew nothing about and was sure would be horrible.  I just do not believe Disney in the midst of a transition after purchasing Pixar put a lot of effort into promoting the movie with its original release.  I wonder if the company in transition limited the resources available to author Tracey Miller-Zarneke, limiting what The Art of Meet the Robinsons could have been.  Sure the volume has samples of great artwork, but I just wanted more.

Between Books - Marvel's Thor: The Dark World - The Art of the Movie

I like Thor: The Dark World more than you!

I’ve never met anyone who legitimately seemed to enjoy it, to the level I did. So a few years ago I bought a copy of Marvel's Thor: The Dark World - The Art of the Movie because for that devotion and being a collector I had to catch them all after reading a few others. Then it sat on the Between Shelves, and I saw the prices of the rest and there was no completionist urgency in the world to get me to finish the whole set. And so that pages figuratively rotted on the vine till now.

Marvel's Thor: The Dark World - The Art of the Movie by Marie Javins and Stuart Moore takes readers through the journey to construct the movie of the same name. The book discusses general story settings of the journey such as looking at Asgard and Svartalfheim. A big emphasis is really on the scenery and the breakdown of scenes, where character development explanations are generally smaller portions of the book. The text is filled with a lot of concept art and storyboards.

I have read a few Art movie books. And this was generally not a favorite for me. As I mentioned, this book is a lot about the scenery and I feel like a lot of Art books give us greater detail on how the plot is developed. This book goes deep into how the worlds were physically and virtually built and not the story. The characters are also not fully discussed in their evolutions either. For example, the book discusses the replacement of metal with rope and fabric in Thor and Odin costumes but I don’t believe it really explained how the characters softened internally. And while one of my favorite model breakdowns was creating the dark elves, the evolving models did not really build characters but really attempted to show a visual representation of stock not-nice elves.

And while the art is beautiful and grand in scope, especially when showing backgrounds and scenery. But I also think there are too many black-and-white storyboards in this volume which cover numerous pages of the book. They are to me not as visually interesting as the giant splash images. And while I can see how concepts moved from page to screen, they did not differ to me enough to show me an evolving thought process which is often the most interesting thing in these books.

As someone who collects, completing a full set of Marvel Cinematic Universe art books seemed impossible to me. The secondary sales of some of these volumes were well beyond any price I might consider. I think this is why this volume sat unmoving on my shelve…why read it when I can’t catch them all. But hope has returned as Marvel has announced a new printing of 24 volumes of MCU “Art Of” books. Though I think I may have lost the desire to fill out the full set. 

I’m a weirdo. I may have liked Thor: The Dark World more than Marvel's Thor: The Dark World - The Art of the Movie. It is a fine volume. It does what it is asked to do by giving a visual description of how some concepts went from page to screen. But it lacked the discoveries that I really enjoy in this book genre.

 

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Between Books - The Art of Star Wars The Force Awakens

Yep, Disney fan makes me a Star Wars fan...actually I was that years before Disney bought LucasFilm.  After enjoying some of the other Disney and Marvel Art of books, I had to add The Art of Star Wars The Force Awakens to my Between Books collection.

The Art of Star Wars The Force Awakens by Phil Szostak guides readers through the development of Star Wars The Force Awakens.  The book is a visual guide to the creation of the film from pre-production, into filming and finally post-production.  Readers will discover a very different story as early versions of the film focused on Kira and Sam, not Rey and Finn, with Jedi Killer in the place of Kylo Ren.  While Szostak provides text that describes the formation of the film it is really the pictures that highlight the story of film production.  Readers can spend hours exploring the pictures, contemplating the ideas that did and did not become part of the finalized film.

The Art of Star Wars The Force Awakens is truly an enjoyable and fun read.  I read it twice.  One read was with the Between Kid, as we mostly focused on the pictures and discussed images and ideas that moved forward.  For my second read, I slowed down reading the text which really discussed how ideas evolved.  Readers come to understand how loose the production of a film can be.  LucasFilm unleashed a team of visual artists to create concepts, many of them strikingly beautiful but unused.  And these images helped to progress the story, not just Disney's and J.J. Abrams revisions to the original George Lucas script.  Many of the visuals are literally what if ideas, ones that would be fantastic to see in the future.  It also becomes clear how Ralph McQuarrie, the original Star Wars visual designer inspired a new generation of artists in both how they dreamed and how they copied much of his own work.

Star Wars fans need to read The Art of Star Wars The Force Awakens.  It is a fantastic look into film making and the creation of 2015's biggest film.  It is personally a must have for Disney/Star Wars fans who want to know more about how the new Star Wars films are created.

Between Books - The Art of Cars

The Art of Cars by Michael Wallis with Suzanne Fitzgerald Wallis explores the artistic development of Disney/Pixar's 2006 Cars.  The Wallises put into the readers hands readers the production images, paintings and sculptures used to develop the rich world of Cars.  The authors explore both the background of American highways and Pixar's, especially John Lasseter's, love of the American automobile.  They discuss the extensive research completed by the Pixar staff including visits to NASCAR races, shutter Detroit automobile plants and down the real Route 66.  The books discusses how these influences came to influence Radiator Springs and the Cars' characters.

The Art of Cars is a very handsome book.  And as disappointed as I was by The Art of Meet the Robinsons, my expectations were met with this volume.  The text provides interesting background, but not so much to overwhelm the reader.  And as it should be the images are the star of the book, and there are numerous images of various types and styles to help satisfy the Cars fan.  Additionally they are arranged in a very pleasing way.

Michael Wallis has a special connection to the Cars universe.  He wrote Route 66: The Mother Road used by Pixar as a research tool.  Additionally, he lead Pixar's two Route 66 research trips.  Pixar was so impressed by Mr. Wallis that they designed Sheriff after his distinctive features, and he voices the character in both Cars and Cars 2.  It gives a very pleasing feeling knowing the author has such a special connection to the film.

Author and Voice Actor Michael Wallis

What I liked most about The Art of Cars is seeing how these designs have Disney connections.  As one flips through the pages and sees the planned details around the map of Radiator Springs, the proposed early origins and the town's buildings,  one who has visited Carsland cannot but help but feel like they are reading about a place that they have been.  Then seeing the design of the flowers and other landscaping used both in the movie and the land further impresses the feeling that the theme park land was far from thrown together.  A highlight for me was a presentation of cone gags, all puns that I felt like Marc Davis would have enjoyed.

For fans of both Disney animated films and the Disney parks The Art of Cars is sure to be delight.  The images and designs found throughout the book are sure to give both a familiar feeling!  And for me it has helped to redeem the Art of style books.     

Between Books - The Art of Pixar Short Films

The Art of Pixar Short Films by Amid Amidi outlines the history of Pixar's shorts up until 2009, providing both history and concept art and stills.  The "Introduction" provides a brief history of each short's development with few images.  This is followed by over 100 pages of art without much narration.  The images include sculptures, concept art, storyboards and stills.  The following shorts are all covered by the book:

• The Adventures of Andre & Wally B.
• Luxo Jr.
• Red's Dream
• Tin Toy
• Knick Knack
• Geri's Game
• For the Birds
• Boundin'
• One Man Band
• Lifted
• Mike's New Car
• Jack-Jack Attack
• Mater and the Ghostlight.      

The Art of Pixar Short Films is well researched and really provides a short history of Pixar.  Amidi shows how the shorts were a platform to build both the technology and artistic skills needed to elevate Pixar to feature films.  Then with entry into full length movies, Pixar continued to see shorts as both a training ground for future big screen artists and a bonus for film audiences, a bonus that had historic precedents in the history of cinema.  It cannot be a called a complete history of Pixar however, with ownership changes for example not being mentioned.  But Amidi does provide a nice history of the shorts that he actually discusses.  There are a number of facts that I found enjoyable including that Ed Catmull was recruited by Disney at one point to design Space Mountain.  The featured art is fun, informative and displays the skill of Pixar's artists.

I am just now getting into the Art of books, so I am a novice in this genre still.  I did find the format different than volumes I have read in the past.  But the large blocks of narration helped keep a cohesive history.  Overall for me the history of The Art of Pixar Short Films is what has led me to consider this a necessary volume for those interested in Pixar history.

Between Books - Poster Art of the Disney Parks

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I think it’s pretty safe to say that Bjorn Aronson is my favorite artist.  I had heard the name, but not truly ever connected my fandom of Aronson with the actual artist.  Well, not until I read Danny Handke and Vanessa Hunt’s Poster Art of the Disney Parks.  Handke and Hunt provide readers a brief history of Disney attraction posters including their production.  This is followed by a tour of each land within the Magic Kingdom style parks, showing off the striking posters that Disney artists have created.  Pages include comparisons of posters from the same attraction in parks in the United States, Asia and Europe.   After displaying the art of the Magic Kingdom’s, the authors add chapters on Disney California Adventure and Tokyo DisneySea. 

There has been a lot said about this book.  These words have included artistic, beautiful, delightful, wonderful, fantastic, and probably awesome.  This is all true.  This book is a must have for Disney fans who will be delighted by the images included on Poster Art of the Disney Parks’ pages.  The discussion of the creation of posters may be insightful for some, but the images and posters are the star of the book. 

My criticism is I want more.  I would have other parks including in the book, such as Epcot.  The authors hint of this by showing us posters from Disney California Adventure and Tokyo DisneySea.  Basically, we are given a peak at great from other Disney parks but we do not get the final full payoff.

Well, some of you have probably already purchased this book.  Congratulations, and enjoy this book.  If you do not have it yet, put Poster Art of the Disney Parks on your radar, Christmas and birthday lists.  It is a wonderful book that will become a cherished volume of your Between Books library. 

Between Books - Dali and Disney: Destino

Dali and Disney: Destino: The Story, Artwork, and Friendship Behind the Legendary Film by David A. Bossert provides the history behind the famed short "Destino" including the relationship between artists Salvador Dali and Walt Disney before, during, and after the artistic development of the film.  Bossert goes beyond just this artistic pair to discuss the effort to complete the film led by Roy E. Disney which culminated in the short being assembled in 2005.  The book presents as a art of book for the short which includes Bossert's own personal efforts as a producer on the short.  And being a art of style book it is filled with wonderful Dali art and "Destino" concept images from Dali and John Hench. 

Bossert gives the readers what is expected from an art book.  He goes into how Walt Disney came to know Salvador Dali and how Dali came to work for Walt Disney, creating a never made short in "Destino".  And while Disney fans may be thrilled with pictures of Dali riding Disney's home hobby train, it is the Dali background that went above and beyond for me.  Bossert provides Disney fans, assuming we knew much of Disney's history, with a discussion of Dali and his role in surrealism.  This helps one to understand images of watches, Dali and even baseball seen within the film.  The numerous images of both Dali's work and story concept art come together to help one better understand the final images of what is truly a complicated visual short.

One of my favorite discussions of the short's development is the role of John Hench.  This Disney legend worked beside Dali in the development stage.  And the two were in such collaboration that when Hench was asked years later to attribute if he or Dali were the creator of key art pieces, some he could never distinguish authorship for.  

While Bossert does pick up on how Roy E. Disney shepherded the effort to resurrect the never completed short, including using Dali's concept art, test footage and the adapted song, what fascinated me the most was the story of stolen Dali concept art from Disney.  While we today see the Disney Archives as a top notch department, concept art was not as closely protected as it is now.  And an employee stole and sold art completed for "Destino".  Bossert outlines how Disney discovered this theft, how the art was found and Disney's efforts to recover it.  And even the efforts to recover the art can be interesting to the non-art expert 

Dali and Disney: Destino: The Story, Artwork, and Friendship Behind the Legendary Film by David A. Bossert is a visually stunning art book.  It is one that goes beyond restating Disney history, but provides readers with the background needed for Disney fans to better understand Dali.  The text is filled with incredible Dali images both for the short and those key to surrealism.  And most surprising, it provides a somewhat exciting crime thriller as Bossert tells his readers of stolen Dali art.

Between Books - Marvel Comics: 75 Years of Cover Art

Writer Alan Cowsill should add curator to his resume.  Marvel Comics: 75 Years of Comic Art is more than a book, it is a mobile art museum.  Between the book's two covers is a treasure chest of art developed by some of Marvel's finest artists from the Golden to the Modern age.

Marvel Comics: 75 Years of Comic Art by Alan Cowsill collects Marvel's finest covers in an over-sized 300 plus page book.  The text puts on displays hundreds of Marvel covers, with typically one or two covers being highlighted on a page.  Occasionally, 3 or more covers will share a page when linked by a theme or story arc.  Covers are organized by title and theme, so Avengers covers reside next to other Avengers covers.  Cowsill provides a brief caption highlighting the historical or artistic attributes of the cover.  The captions help explain historical trends such as the growth of variant and special covers.  On a few occasions, Cowsill offers a description of significant cover artists like Jack Kirby and John Byrne.  The book also explains how covers are developed using Nova #1 and Black Panther #1 as examples. The title is broken into four sections; The Golden Age, The Silver Age, The Bronze Age, and The Modern Age.  Despite being an art book with brief captions, readers will find they cannot rush through the pages but instead will spend hours enjoying the visuals.     

The book is designed to show off the included covers and the covers are the star.  The pages are large, giving the maximum space to display the art.  The captions are helpful but not overly wordy to only highlight not steal the focus from the covers.  The text comes with a sturdy slipcover to protect the book, though honestly, the book's front cover with a partial print of Marvel Comics #1 and the back cover with the fan chosen The Infinity Gauntlet #1 are eye-catching in their own right.  Every aspect of this book shows that the artists' reign in this large book, with writers as secondary contributors.  And as a bonus the publisher has included prints of Amazing Fantasy #15 and Iron Man #1 from the 2005 run that could be framed and displayed.  No one needs to worry about cutting up a copy to have prints for display.      

The text has really helped me to appreciate and find covers I had not been exposed to yet.  For example, I have enjoyed Jim Steranko's covers from Nick Fury, Agent of S.H.I.E.L.D., and loved that issue #6 which I own is included. But I am now in love with his March 1969 Captain America 111 cover.  And I was thrilled that Cowsill included Dikto's original and unedited Amazing Fantasy #15.  I did question the inclusion of seven David Aja Hawkeye covers, but the Aja art is spectacular.  And this choice shows that Cowsill wanted to display strong and interesting art.     

I honestly can only provide two criticisms of Marvel Comics: 75 Years of Cover Art.  First, the book gives over half of its pages to The Modern Age, and personally I would like to have seen more covers from The Golden to Bronze Ages.  But I cannot argue with the choices of the curator as there have been many more covers produced in The Modern Age based solely on the number of titles, artists and variations printed. Second, I would love a short conclusion where Cowsill would have provided a concluding word on this large book for his readers.       

Marvel fans will love this book.  Disney fans who want a concise visual history of Marvel comics will appreciate the text and find the art to be enjoyable.  Marvel Comics: 75 Years of Cover Art by Alan Cowsill is a large, in-depth and artful text.  The biggest problem is the size of one's comic wish list after finishing the last page.  

Review Copy Provided by Publisher 

Between Books - They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One

 

Short Version - They Drew as They Pleased by Didier Ghez is really good.  If you like or love Disney animation and books you will want very volume.

Long Version - They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One by Didier Ghez is the second volume in this art driven series.  Ghez again features treasures from Disney's story artists.  The book covers artists that are well known in Kay Nielsen and Retta Scott but also those that Disney fans may not be as familiar with like Walt Scott.  Each chapter includes a brief description of the artist's work and the pages of their art, which are well-framed and often striking to the reader.

Honestly, I do not have a lot to say about this volume.  The artists picked are a great representation of the studio and the films which Disney had in production during a time that Ghez labels a musical era.  Ghez faces some issues straight one such as the status of women in the studio and Walt Disney's views of their contributions.  A theme which is unstated in this volume is short tenures with many of these artists quickly moving on in the time of economic uncertainty as World War II opens and labor changes after the studio strike.  If I had a to pick a criticism, I would have loved to see more of Retta Scott's art for Bambi and less of unfinished Disney projects due to her skill drawing animals.

If you are reading this review you probably like or love Disney books.  Yes, you need a copy of They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One by Didier Ghez in your library.  There is a pretty good chance you were already thinking about this!  Just let me confirm it for you.  It is an excellent volume with fantastic art that you want in your collection.

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Between Books - They Drew as They Pleased: The Hidden Art of Disney's Mid-Century Era The 1950s and 1960s

 

Short Version - They Drew as They Pleased: The Hidden Art of Disney's Mid-Century Era The 1950s and 1960s by Didier Ghez, as expected is really good. And with the inclusion of the Blairs, Disney readers will likely be familiar with two of his five subjects.

Long Version - They Drew as They Pleased: The Hidden Art of Disney's Mid-Century Era The 1950s and 1960s by Didier Ghez continues an exploration of the contributions of Disney story artists to animated shorts and features. Ghez provides a short biography followed by numerous pages of concept art for Lee Blair, Mary Blair, Tom Oreh, John Dunn, and Walt Peregoy. Readers can explore the images created for films such as Alice in Wonderland and 101 Dalmatians. These images show an evolution from paper to cell for the movies which gave many of us joy during our childhoods.

The book follows the same format as the other volumes in the series. The biographies introduce readers to the artist, their Disney journey, and their post-Disney careers. This is followed by numerous color images which are visually pleasing. Mary Blair may likely be the most prominent featured artist to date. Sadly, this is the biography that I found the most lacking. Disney fans know a lot of her time after leaving animation between her fine art and Imagineering contributions. I found the Blair entry to be shorter in the post-animation days than other narratives. For me, I found the entry of Tom Oreb to be more interesting due to the combination of an introverted personality, interesting art, and concepts that appeared to be delivered straight to the movie theater with an artist that we generally know less about.

If you are deep into Disney animation history, you likely already have They Drew as They Pleased: The Hidden Art of Disney's Mid-Century Era The 1950s and 1960s. If you are that person and you don’t have a copy yet, you likely will in the future. This series is just so visually pleasing, it really is a must-read and collect.



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Between Books - Marc Davis: Walt Disney's Renaissance Man

As I have become more and more familiar with those that make the magic, the late Marc Davis has become my favorite Imagineer.  His ability to mix fun with interesting designs continues to help The Jungle Cruise, Pirates of the Caribbean, and The Haunted Mansion.  I have often said on my list of literary wants is a volume that captures all of his interests from animation to the theme parks and beyond.  And now we can finally say that title exists.

Marc Davis: Walt Disney's Renaissance Man provides an artistic biography of Davis' life.  The artist's journey is documented by numerous authors, including some who knew the man, including John Canemaker, Andreas Deja, Pete Doctor, Marty Sklar and Marc Davis (yes, I said Marc Davis).  Each author takes up an aspect of his career from his own early animal studies, Davis the art teacher, animation, Imagineering, Davis' fine art and more.  Davis' own chapter is an excerpt from an unpublished book in which he discusses anatomy and motion.  Author Mindy Johnson provides a chapter that will delight Disney fans, "The Divine Miss Alice", which provides a biography of Davis' widow Alice who is a legend in her own right.  The entire volume is wonderfully illustrated with Davis' work, much of it coming from the Alice Davis Collection.

First and foremost what strikes a reader is the art.  The book has over sized pages which show off a master artist and draftsman's efforts.  A common theme amongst the authors is Davis' flawless representation of movement, and his personal sketches of football games and dancers shows that clear ability to visually communicate movement with static pictures.  The inclusion of early drawings, including those done on Butcher paper are exciting, as one feels they are uncovering Davis' early works.  And the included Disney Theme Park images will delight.  My personal favorites include concept art for the Western River Expedition which show that Davis planned a ride full of puns.  But the concept art for the Haunted Mansion art gallery found on pages 138 and 139 made me wish the page was even bigger so the crease did not have to interfere with my view of the masterpiece. Speaking of masterpieces, the book provides something that Disney fans are not used to, numerous samples of Davis' fine art.  These pieces, be it a tree study or a spirit house from his Papua New Guinea trips show Davis' ability to work in numerous formats and styles.

The chapter text, usually 3 to 5 pages long, present Davis' well-rounded life.  My favorite chapters show a teacher, a man at play, and a husband.  "Marc as Teacher" by Bob Kurtz presents Davis the instructor.  One really can see the ease at which Davis could quickly form an image with expert lines.  And you get insight to his teaching style.  For me a highlight is seeing something I thought no longer exists, photographs of some of his chalkboards.  "Papua New Guinea and the Pacific Islands" shows a man looking to learn more about his world and his art.  But his sketches, including a canoe mishap allow us to see a man with a sense of humor.  And of course, his art from his trips is spectacular.  And along with his whimsy, the accompanying text shows that even in his later years he still had a vivid imagination.  Finally, "The Divine Miss Alice" gives us a biography of Alice Davis.  I have personally gotten so used to hearing Alice Davis talk about Marc Davis that it was refreshing to see her own work highlighted.  Additionally, the images help document a true romance.

Marc Davis: Walt Disney's Renaissance Man is a book I have wanted on my Between Book shelf for awhile, well before it even existed.  This volume is a must have for Marc Davis fans, Disney animation historians and Disney Parks enthusiasts.  In one volume Davis fans can reference his entire art career and see why Walt Disney considered Davis his Renaissance Man. 

 


Review Copy Provided by Publisher

Between Books - Marc Davis In His Own Words

 

Marc Davis In His Own Words: Imagineering the Disney Theme Parks by Pete Docter and Christopher Merritt is much more than a simple book.  The title is truly an experience, one which can help enlighten and raise the spirits of a Disney fan…because in 2020 more of us are Between Disney than ever before.

During the health crisis of 2020, I took eight months to read this two-volume text.  And when I say read, I mean experienced.  For me, every session was carefully staged in strong lighting.  I played appropriate attraction or movie themes on a speaker.  I never ever read so long that my mind began to wander.  I truly just let the book pull me into the art, process, and finally the experience of many of Mark Davis’ masterpieces. 

The structure of Marc Davis In His Own Words is largely what one would expect.  The 749 pages open with a chapter about Davis’ career in animation, a career which on its own merit was a triumph.  The book then follows his path through Imagineering, being called over by Walt Disney to provide creative ideas at Disneyland for “Nature’s Wonderland” and other established attractions.  Then the authors bring us through Davis’ most celebrated attractions including “Pirates of the Caribbean”, “Haunted Mansion”, “Country Bear Jamboree” and more including the transfer of many of these ideas to Florida and the Magic Kingdom Park.  The book ends with a period of creative frustration for Davis as many of his ideas were never fulfilled including the “Enchanted Snow Palace.”  Finally, a retired Davis continues to provide support of Imagineering creative endeavors, consulting with EPCOT and Tokyo Disneyland.  The chapters are picture heavy, with really the Davis art at the center of attention.  Davis quotes surround his striking art along with the words of his colleagues.  There is some background information provided by the authors, but they admittedly take third place to the art and words of Davis and those who worked closely with him. 

I have many thoughts, and learned so much during the months of reading this book that everyone praises.  First, I feel like I can now say I have experienced new Davis’ attractions such as the “Enchanted Snow Palace” as the excellent presentation of his art allowed me to sit Between Disney and experience a ride that has never been realized, and perhaps it should be!  But even for the attractions I know deeply, I can see them in a new way as Davis’ art provides never included details, variations and insights that I had never considered.  I also believe I know Davis the artist better.  His attraction development includes numerous brainstorming ideas which he drew out so he could find the right idea.  We have often discussed as fans that Walt Disney noted you cannot choose from one.  This maxim is true for Davis and his own efforts to find the story as he sought multiple ideas in his storytelling.  The best part is this is not told to us but shown to us through his concept art.  Additionally, he did not see an attraction as true pure storytelling.  An attraction was an experience and he could immerse guests into it.  But the story would be different for everyone.  And so Davis was not truly looking to tell stories but instead experiences.

If you are interested in Disney books, you have likely heard how great Marc Davis In His Own Words is.  They are right.  The two-volume book can be seen as a major investment, but the title can at times be found on sale which makes the price more reasonable for two large art of books.  But in the end, for me the price was fair.  Because I was able to use my time largely at home to bury myself multiple mornings into Davis’ fantastic worlds.