Walt Disney Art Classics Convention 2004 - Part 1
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After the event, high spirits prevailed as conventioneers stayed in character as they spilled out into the Disneyland Resort.

Some Medfield students took time to capture a memory...

…while others staying at the Disneyland Hotel let their enthusiasm get a bit out of hand.

CLASS: SOCIAL STUDIES 101/ THE DALMATIAN REVOLUTION OF ‘61

Pacific Ballroom, Disney’s Paradise Pier Hotel

On Saturday morning, “classes�? began in earnest with Social Studies 101: The Dalmatian Revolution of ’61. “Professor�? Tim O’Day greeted all students, who responded in unison, “Good morning, Professor O’Day.�? He sternly admonished them, “I’m a little concerned about things that happened last night.�? He went on to deplore the “cow tipping in Frontierland�? and “soap in the moat.�? He pointed out that swans don’t like that. He finished his reminders with the warning, “We don’t want any slackers in this class!�?

O’Day then introduced visiting Sociology professors David Pacheco of Walt Disney Art Classics and Andreas Deja of Disney Feature Animation. Professor Pacheco entered, formally dressed, and signed in on the chalkboard that had been thoughtfully provided. He turned, gave a formal bow, and said, “Good morning, class.�? When all responded, again in unison, “Good morning, Professor Pacheco,�? he chuckled, “You’ll pass.�? He then announced that “We have decided to consolidate History and Art classes to facilitate graduation.�?

Professor Pacheco brought a formal presence to the class session.

Pacheco began briskly, giving background on “101 Dalmatians,�? Disney’s 1961 feature animation release. Pre-work on the Dodie Smith book began in July of 1957, although the book was not acquired until November of that year. In March of 1958 work began in earnest.

Disney artist Bill Peet did all the story and story board work on 101 Dalmatians. To illustrate this singular achievement, Pacheco showed an image of the story board of the sequence that introduced Cruella de Vil. He then showed an illustration of Cruella from the original book. This led to a discussion of the use of stylization in 101 Dalmatians. Marc Davis’ designs for Cruella were contrasted with the more realistic depiction of the book. Even Cruella’s distinctive car was stylized, its metamorphosis shown in a series of sketches.

Cruella de Vil as she appeared in Dodie Smith’s book…

…and as she memorably appeared in Disney’s film version.