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Mel Shaw
Mel Shaw
Mel Shaw
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Mel Shaw[1] (born Melvin Schwartzman; December 19, 1914 – November 22, 2012) was an American animator, design artist, writer, and artist. Shaw was involved in the animation, story design, and visual development of numerous Disney animated films, beginning with Bambi, which was released in 1942.[2][3] His other animated film credits, usually involving animation design or the story, included The Rescuers in 1977, The Fox and the Hound in 1981, The Black Cauldron in 1985, The Great Mouse Detective in 1986, Beauty and the Beast in 1991, and The Lion King in 1994.[2][3] He was named a Disney Legend in 2004 for his contributions to The Walt Disney Company.[4]

Key Information

Early life

[edit]

Shaw was born on December 19, 1914, in Brooklyn, New York.[3] His mother was an opera singer and his father was a lawyer.[3] He was the second oldest of four brothers born to his parents.[3]

Career

[edit]

Shaw began his career in entertainment industry as a silent film title card creator at Pacific Title and Art, a company owned by film producer, Leon Schlesinger.[2] He next worked for Orson Welles in the early 1930s, where Shaw helped to create a storyboard The Little Prince, though the proposed Welles film was never created.[2] Shaw would later join the Harman-Ising Studio, working on the early Looney Tunes and Merrie Melodies, as well as MGM's Happy Harmonies series.

Shaw was personally recruited by Walt Disney to work on the 1942 animated classic, Bambi.[2][3] He left Disney Studios to enlist in the Army Signal Corps, where he served as a combat photographer during World War II.

Shaw returned to Disney's animation department in 1974 at the invitation of Walt Disney Studios.[2] He returned to work on Disney animated films and mentored a new generation of animators. His last film at Disney was Brother Bear, released in 2003.[2]

Shaw partnered with former MGM Studios animator Bob Allen to establish a design firm.[2] Under Shaw and Allen, their company designed Howdy Doody for NBC during the late 1940s.[2][3]

He was among a couple of artists who worked at Disney both during its Golden Age within the late-1930s as well as during the studio's resurgence within the 1990s.[5][6][7]

Death

[edit]

Shaw died from congestive heart failure on November 22, 2012, at the Woodland Care Center in Reseda, California, at the age of 97.[2][8] His first wife, Louise, died in 1984.[3] Shaw's second wife, Florence Lounsbery, who died in 2004, was the widow of Disney animator, John Lounsbery.[3] They had resided in Acampo, California, for more than twenty years.[3]

Filmography

[edit]
  • We're in the Money (short) (animator - uncredited) - 1933
  • Tale of the Vienna Woods (short) (story, animator and character layouts - uncredited) - 1934
  • Toyland Broadcast (short) (animator - uncredited) - 1934
  • Good Little Monkeys (short) (animator - uncredited) - 1935
  • Alias St. Nick (short) (animator - uncredited) - 1935
  • Bottles (short) (animator - uncredited) - 1936
  • To Spring (short) (animator - uncredited) - 1936
  • Merbabies (short) (animator - uncredited) - 1938
  • Fantasia (visual development artwork) - 1940
  • Dumbo - 1941
  • Bambi (writer, visual development artwork) - 1942
  • The Adventures of Ichabod and Mr. Toad (visual development artwork for the Mr. Toad segment) - 1949
  • Disneyland - (story for the Tricks of Our Trade episode) - 1957
  • The Rescuers - 1977
  • Deadman's Curve (TV Movie) (writer: "Baby Talk" song) - 1978
  • The Fox and the Hound (creative assistant to the producers) - 1981
  • The Black Cauldron (writer) - 1985
  • The Great Mouse Detective (writer) - 1986
  • It's Howdy Doody Time (TV special) (thanks - as Melvin Shaw) - 1987
  • Beauty and the Beast (production consultant: visual development) - 1991
  • The Lion King (visual development artist) - 1994
  • Tarzan (assistant animator) - 1999
  • Treasure Planet (key animator) - 2002
  • Brother Bear (character designer) - 2003
  • Finding Grandma (short) (editor) - 2010

References

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Mel Shaw

View on Grokipedia
from Grokipedia
Mel Shaw is an American animator, story artist, and visual development artist known for his influential contributions to Walt Disney animated films across multiple eras of the studio's history. Born Melvin Schwartzman on December 19, 1914, in Brooklyn, New York, he joined the Walt Disney Studios in 1937 after being personally recruited by Walt Disney, contributing key visual development and story work to early classics such as Fantasia (1940) and Bambi (1942), where he helped establish the film's distinctive visual style through impressionistic pastel studies. After serving in the U.S. Army Signal Corps during World War II and pursuing independent design projects, including co-founding Allen-Shaw Productions, he returned to Disney in 1974 to mentor younger artists and provide concept art for films during the Disney Renaissance, including The Rescuers (1977), The Fox and the Hound (1981), Beauty and the Beast (1991), and The Lion King (1994), his final project for the studio. Recognized as one of Disney’s “elder statesmen” of animation, Shaw was inducted as a Disney Legend in 2004 for his sustained impact on the art of animation through visual development, story design, and character concepts. He passed away on November 22, 2012, in Reseda, California, at the age of 97.

Early life and career beginnings

Birth and family background

Mel Shaw was born Melvin Schwartzman on December 19, 1914, in Brooklyn, New York. He was the second of four boys born to an attorney father and an opera-singer mother. In the late 1920s, his family relocated to Los Angeles.

Childhood and early artistic development

Shaw's childhood was marked by early displays of artistic talent and a spirit of adventure after his family relocated to California in the late 1920s. At age 12, he won a national soap-carving contest sponsored by Procter & Gamble. At age 14, Shaw ran away from home and hitchhiked to Utah with the intention of becoming a cowboy, spending four months working on ranches before returning home. This experience ignited a lifelong passion for horses, the American West, and drawing animals, themes that would later influence his artistic style and contributions to animation. His early fascination with animal anatomy and movement began during this period through extensive sketching and observation.

Entry into animation and pre-Disney work

Shaw began his career in animation in the late 1920s by lying about his age to secure a position at Pacific Title and Art Studio in Los Angeles, where he painted title cards for silent films. He later studied at the Otis Art Institute, where he met animators Hugh Harman and Rudy Ising. This connection led to his hiring in the early 1930s at Harman-Ising Studios, where he served as an animator, storyboarder, and director on various animated projects. During his time at Harman-Ising Studios, Shaw also storyboarded an unproduced live-action/animated adaptation of Antoine de Saint-Exupéry's The Little Prince intended for Orson Welles.

First tenure at Walt Disney Studios (1937–1941)

Hiring through polo connection

Shaw met Walt Disney through their shared enthusiasm for polo during the late 1930s, when both were active players on Southern California fields. Disney, impressed by Shaw's talent and athleticism, hired him as an artist at Walt Disney Studios in 1937. Shaw quickly became a prominent member of Disney's polo team, the Donald Ducks, where he was regarded as a star player. In 1938, the team traveled to Mexico for a match against an elite local squad, with Shaw transporting fellow players in his Dodge station wagon. Prior to joining Disney, Shaw had gained animation experience at Harman-Ising Studios, contributing to early Looney Tunes and Merrie Melodies shorts.

Visual development on Fantasia and Bambi

During his initial period at Walt Disney Studios, Mel Shaw contributed to the visual development and style of Fantasia (1940). Shaw's primary contributions during this tenure came on Bambi (1942), where Walt Disney personally provided him with the script and invited his participation by saying, “You like to draw animals; read this and see what you can do.” Shaw became heavily involved, contributing to practically every sequence of the film as a story and conceptual artist. He produced pastel artwork that illustrated the sequences and demonstrated how colors would change to fit the mood and dramatic needs of each scene. Shaw also created an exquisite array of impressionistic pastel, ink, and watercolor studies that explored visual possibilities, including concepts for the rainstorm sequence and forest encounters. In addition to these major projects, Shaw made minor contributions to Dumbo (1941) and spent months developing concepts for the Wind in the Willows segment, later released as part of The Adventures of Ichabod and Mr. Toad (1949).

World War II military service

Army Signal Corps role

Following his contributions to Fantasia and Bambi at Walt Disney Studios, Mel Shaw left the studio to enlist in the United States Army Signal Corps during World War II. He served as a combat photographer in Southeast Asia, including regions in India, for approximately two years. Shaw was assigned to British Commander Lord Mountbatten in the Pacific theater and operated in the Burma campaign area. He later reflected that World War II introduced him to China, Burma, and Lord Mountbatten.

Documentary and wartime art contributions

During his service in the U.S. Army Signal Corps during World War II, Mel Shaw contributed to documentary filmmaking and created cartoons for military publications. As a filmmaker under Lord Louis Mountbatten, he helped produce an animated documentary on the Burma campaign. Shaw also served as art editor and cartoonist for the Stars and Stripes newspaper in Shanghai, China. In this role, he drew cartoons depicting the daily life of GIs in China, including biting caricatures that portrayed the experiences of American soldiers in the region.

Post-war independent career

Allen-Shaw Productions

After World War II, Mel Shaw partnered with Bob Allen, a former animator at MGM Studios, to establish Allen-Shaw Productions. Through this design firm, Shaw illustrated a Bambi children's book adaptation for Disney, published as a Golden Book. The partnership also focused on designing children's toys and conceiving ceramic pieces, including dishes and figurines, for Metlox Potteries, a Manhattan Beach-based manufacturer. This period marked a productive phase of independent commercial design work following Shaw's military service.

Notable independent designs and projects

During this period, Shaw and Allen undertook commercial projects including children's toys, ceramic figurines, and illustrated books. One of their most notable commissions involved redesigning the marionette for NBC's popular children's television program Howdy Doody in the late 1940s and early 1950s. The original puppet had a Pinocchio-like appearance with fuzzy hair, but Shaw and Allen reimagined it as a freckled cowboy-style "hayseed" character, with Allen designing the freckled face, Shaw creating the head model, and a small cowboy costume added to complete the look. When the redesigned marionette debuted, the partners received no public credit for their contributions, prompting them to patent the design in 1950.

Return to Disney (1974 onward)

Mentoring younger animators

In 1974, Mel Shaw returned to The Walt Disney Studios at the invitation of Ron Miller, Walt Disney's son-in-law and a Disney executive, who sought his expertise to support the animation department during a major transition. Miller, having reconnected with Shaw at a Hollywood party, specifically asked him to help bridge the gap between the retiring generation of Walt Disney's original animators and a new influx of younger artists, many trained through the Disney-affiliated California Institute of the Arts program. As Miller later explained, this was a time when veteran animators "were taking their bows," and the studio needed mentors like Shaw to "show by example what it took to make a Disney film." Shaw embraced the role of guiding and inspiring the next generation, drawing on his decades of experience to offer knowledge and perspective as the animation team evolved. He was widely regarded as one of Disney's "elder statesmen" of animation, a designation that acknowledged his stature as a veteran artist who contributed to the professional development of younger talent during this pivotal era.

Visual development on 1970s–1990s features

Upon returning to The Walt Disney Studios in 1974, Mel Shaw contributed visual development, design, and story work to several major animated features across the 1970s, 1980s, and 1990s, helping bridge the studio's earlier era with the emerging generation of artists. He often joined projects in their earliest stages, creating artwork that explored visual possibilities and influenced the overall look and direction of the films. For The Rescuers (1977), Shaw created a series of dramatic pastel drawings for the title sequence depicting a bottle carrying Penny’s plea for help through stormy seas; director Woolie Reitherman decided to use the pastels directly rather than animate them, preserving their evocative quality. He also contributed to The Fox and the Hound (1981) in a creative capacity supporting the production team. Shaw's involvement continued with story contributions to The Black Cauldron (1985) and The Great Mouse Detective (1986), where his work helped shape narrative and visual elements during development. In the 1990s, Shaw served as production consultant for visual development on Beauty and the Beast (1991), providing conceptual artwork to define the film's aesthetic at an early stage. He then worked as a character designer and visual development artist on The Lion King (1994), creating key designs that helped establish the film's visual style and character appearances. Shaw was known for his masterful use of pastels, which conveyed a sense of immediacy and invited viewers to engage imaginatively with the incomplete image. He also contributed to the unproduced project Musicana, envisioned as a Fantasia-style anthology of global musical stories.

Personal life

Marriages and family

Mel Shaw was married twice. His first wife, Louise, died in 1984. They had two children: a son, Rick Shaw, and a daughter, Melissa Couch-Deranleau. On Thanksgiving Day 1985, Shaw married Florence Lounsbery, the widow of Disney animator John Lounsbery. The couple resided together in Acampo, California, for nearly two decades until Florence's death in 2004. Through this marriage, Shaw had three stepchildren: Ken Lounsbery, John Lounsbery, and Andrea Gessel-Severe. At the time of his death in 2012, Shaw was survived by his two children, Rick Shaw and Melissa Couch-Deranleau; his three stepchildren, Ken Lounsbery, John Lounsbery, and Andrea Gessel-Severe; 14 grandchildren; and one brother, Bob Shaw.

Lifelong passion for horses

Mel Shaw developed a dual passion for art and horses from an early age. At 14, after his family relocated to California, he ran away to Utah hoping to become a cowboy, though he returned to Los Angeles after four months. Throughout his life, he remained a dedicated horseman and never lost his deep passion for horses, which remained one of the central themes of his personal life alongside his artistic pursuits. In the late 1930s, Shaw took up polo as one of his hobbies and played semi-professionally for the Riviera Country Club. His skill on the polo field led him to meet Walt Disney, an avid polo enthusiast, who was impressed by Shaw's riding and subsequently offered him a position at the studio in 1937 while also inviting him to join Disney's polo team, the Donald Ducks, where he became a star player. Shaw's lifelong love of horses frequently inspired his personal creative work outside his animation career. He produced numerous paintings, drawings, and bronze sculptures featuring horses as a beloved subject, often drawing from California's history and equestrian themes. Through these works, he established himself as one of the most accomplished equestrian artists of his time. This enduring interest is reflected in the title of his autobiography, Animator on Horseback.

Death and legacy

Death in 2012

Mel Shaw died of congestive heart failure on November 22, 2012, at the Woodland Care Center in Reseda, California, at the age of 97. The death occurred on Thanksgiving Day, as confirmed by his son Rick Shaw, who announced the details. Shaw was survived by his son Rick, daughter Melissa Couch-Deranleau, three stepchildren, a brother, and 14 grandchildren.

Recognition and influence in animation

Mel Shaw was inducted as a Disney Legend in 2004 for his contributions to the Walt Disney Company. Described as one of Disney’s “elder statesmen” of animation, he earned recognition as a vanguard visual development artist who shaped the studio’s approach to storytelling through evocative concept work. Producer Don Hahn, who collaborated with Shaw on several films, noted that he was “on a short list of vanguard artists who would jump into a new film when it was still a blank piece of paper and with his stunning work he’d show us all the visual possibilities of the idea,” highlighting his ability to define a project’s visual direction from its earliest stages. Shaw’s return to Disney in 1974 positioned him to mentor younger animators during a transitional period, bridging the Golden Age artists with the emerging generation that would drive the Disney Renaissance. Ron Miller, then head of the studio, specifically sought mentors like Shaw to demonstrate through example what it took to create a Disney film. His influence extended to the visual language of later features, helping establish the aesthetic foundations that supported the studio’s 1990s resurgence. Shaw’s legacy endures particularly through his mastery of pastel concept art, which conveyed color storytelling and emotional depth with minimal lines. Art director Ed Ghertner recalled that Shaw used pastels to create rendered-like images that “left the feeling that there was more to be told,” engaging the viewer’s imagination to complete the narrative through simplicity of color and form. His exceptional skill in depicting animals and horses in motion further distinguished his work, contributing to naturalistic and dynamic visual development across decades. A 2016 retrospective at the Walt Disney Family Museum, curated by Don Hahn and featuring over 120 pieces, celebrated this multifaceted legacy, though coverage of his independent projects outside Disney remains comparatively limited.
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