Paintry drawing of Rajah by Aaron Blaise

Aaron Blaise was for 2 decades one of the best animators Disney had on their payroll. He worked on many of Disney’s top animated features of the 1990’s. His credits include “Beauty and the Beast” where he animated Beast, Young Nala on “The Lion King” and the lead character on “Pocahontas” Today he works freelance as an illustrator and is trainer. On his site The Art of Aaron Blaise he gives a demonstration on how Rajah might look like in a painterly fashion drawn digital with Photoshop. Notice that the basic drawing is done in a miniature time and then Aaron spends the rest of the 3,5 minute video fine turning the drawing.

Genie animator interviews Genie animator: Tom Sito talks Eric Goldberg

Japanese Movie Program Scan - Eric Goldberg
Eric doing a sketch of Genie.
Likely from his first scenes in the cave.

Animated News links to an AWN article where Tom Sito, animating since the late 70’s and worked on most Disney 90’s films, interviewed his collauge and friend Eric Goldberg, had his own commercial studio before joining Disney in the early 90’s.

In the interview Eric describes how he came onboard to Aladdin.

“In 1982, when we were in L.A. to do Ziggy’s Gift, Susan had introduced me to many of her Cal Arts compatriots, including Hendel Butoy, Darrell Van Citters and John Musker. John and I clicked, and continued a mutual admiration for several years after [Susan and I] had returned to London. In the summer of ’89, I attended an animation festival at the AFI in L.A. with my Pizazz commercials reel, and Disney honchos Charlie Fink (then head of development) and Bill Matthews (in charge of training and recruitment) were in the audience. They asked if they could show my reel at the studio and I said, “Sure.” For an entire year after that, Charlie phoned me, at least once a month, to ask, “Wanna jump ship yet?” Further enticements included the knowledge that John Musker and Ron Clements were embarking on Aladdin in the coming year. I was impressed with Who Framed Roger Rabbit and The Little Mermaid, and started to feel that if I didn’t make a move soon, I would miss the crest of the wave of Disney Animation’s newfound popularity in my home country. The turning point came one night as I was running for a train after a day of stress and meetings at Pizazz. Having just made it, I stood there with my heart beating so wildly it practically popped out of my chest. I decided then and there that I needed to remove stress from my life, and that maybe animating at Disney was my ticket. I distinctly remember your [Tom Sito’s] reaction was, “You’re coming to Disney to avoid stress???”