Herbert Ryman (1910-1989) EPCOT concept sketches

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Herbert Ryman (1910-1989) EPCOT concept sketches
ok lemme fangirl over herbert ryman a little here, cause this sort of stuff:
(horizons - my favorite ride that i will forever be bitter about) is only his commercial work. His personal art was all watercolors and in plein air sketches that you don’t see much because it’s not exactly popular like his concept art, but ive got a giant art book showcasing it, the most notable body of work which he did at age 26 when he traveled the world for a year, sketching everything he saw
also artists have been taking selfies basically since the camera was invented:
until he came back to the states and turned his sketches into watercolor paintings and used his years worth of work to design hollywood set backdrops and stuff. And then he gallivanted off to the circus for a year, traveled around with the ringling brothers (”any artist who tries to paint the circus must admit failure before he starts. It is, of course, a noble ambition, but an egotistical one, for the very phantasm of the show is so kaleidoscopic.”) which he stayed with basically until the big top was retired. and then he went and built d*sneyland. he was the guy walt called up at like 10am on a saturday because walt never worked normal hours, and asked herbie to come in special on the weekend, and in ONE WEEKENd herbert ryman drew the famous d*sneyland concept map that got walt and roy the funding they needed for their new pet project. Like all those early years of life studies and exploring were what allowed ryman to later piece concepts together out of memory and imagination. And the stuff he could come up with from nothing was just...ugh mindblowing. Once I got to visit the d*sney offices in pittsburgh and when i walked in an entire wall was covered with one of my favorite paintings of his and i had to just stop and stare and my friend was like ‘oh you recognize it?’ and it was all i could do to keep from exploding like ‘YES and i never thought i would ever ever see it in person’.
Anyway, Herbert Ryman was amazing: “I learned very early that the life of art was no trivial thing, no toy to be picked up and put away when it cloyed. This dedication was to be as deep as your soul and as long lived as eternity. There was no beginning, there would be no end. You would never learn enough about it to satisfy your hunger, you would never dare to hope for the skills that would forever elude you. You would follow this dream, without question, wherever it led you, to the very end of time. Such was the tacit challenge, the gateway to the unattainable goal. Hence a suggested theme from that brief statement on the sundial ‘I count only the sunlight hours’.”
Herbert Ryman concept art for Walt Disney's dream of the future, the Experimental Prototype Community of Tomorrow, better known as EPCOT.
Haven’t seen this Epcot image before.
My own dream of happiness would be to live in every spot on our globe. To see, and study, and record, and most of all, to understand. And to pass on in some tangible form a fragment of that enthusiasm and love.
Herbert Ryman
"Walt Disney asked Herbert Ryman to draw up some sketches that would capture the romance of New Orleans. The Royal Court, seen here, would become central focus of New Orleans Square when it opened at Disneyland in 1966. The stairway in the centre of the sketch leads to a suite of rooms that would have been a private apartment for Walt Disney. (Walt passed away before the apartment was ever used.) Today, the rooms are part of The Disneyland Gallery."
The Imagineers. Walt Disney Imagineering: A Behind the Dreams Look at Making the Magic Real. New York: Hyperion. 1996. Print
Sleeping Beauty's Castle comes to Anaheim, July 1995. Herbert Ryman, 1995, acrylic. 20x30.
Kurtti, Jeff. (italic) The Art of Disneyland. New York: Disney Editions, 2006. Print.
Sleeping Beauty Castle in Fantasyland, Disneyland. Herbert Ryman. Coloured pencil on brownline. 22x50. 1954.
Marling, Karal Ann ed. Designing Disney's Theme Parks: The Architecture of Reassurance. New York: Flammarion, 1997. Print.