Editing One Hundred and One Dalmatians (section)

====Art direction====
After ''[[Sleeping Beauty (1959 film)|Sleeping Beauty]]'' (1959) disappointed at the box office, Disney was losing money and there were discussions about closing down the animation department.<ref name="Redefining the Line"/> During the film's production, Disney told animator [[Eric Larson]]: "I don't think we can continue; it's too expensive."{{sfn|Barrier|1999|pages=566-557}} Despite this, he still had deep feelings towards animation because he had built the company upon it.<ref name="Redefining the Line"/>

[[Ub Iwerks]], in charge of special processes at the studio, had been experimenting with [[Xerography|Xerox]] photography to aid in animation. By 1959, he used a Xerox camera to transfer drawings by animators directly to [[cel|animation cels]], eliminating the inking process, thus saving time and money while preserving the spontaneity of the penciled elements.{{sfn|Finch|1975|page=122}} However, because of its limitations, the camera was unable to deviate from a black scratchy outline and lacked the fine lavish quality of hand inking.{{sfn|Finch|1975|page=122}} Disney would first use the Xerox process for a thorn forest in ''Sleeping Beauty'',{{sfn|Barrier|1999|pages=566-557}} and the first production to make full use of the process was ''[[Goliath II]]'' (1960).{{sfn|Finch|1975|page=122}} For ''One Hundred and One Dalmatians'', one of the benefits of the process was that it was a great help towards animating the spotted dogs. According to [[Chuck Jones]], Disney was able to complete the film for about half of what it would have cost if they had had to animate all the dogs and spots.<ref>{{cite interview |url=https://www.michaelbarrier.com/Funnyworld/Jones/interview_chuck_jones.htm |title=An Interview with Chuck Jones |website=Michaelbarrier.com |access-date=April 13, 2014 |archive-date=February 7, 2014 |archive-url=https://web.archive.org/web/20140207030734/http://www.michaelbarrier.com/Funnyworld/Jones/interview_chuck_jones.htm |url-status=live}}</ref>

Meanwhile, [[Ken Anderson (animator)|Ken Anderson]], the studio's art director, learned a television production studio—Hurrell Productions—was using Xerography to produce television commercials featuring Disney characters.{{sfn|Ghez|2019|p=39}} Inspired by the aesthetic, Anderson experimented with a Xerox copier to directly transfer the animators' drawings onto [[Cel|transparent cels]], thereby eliminating the inking process. Anderson screened an animation test to Disney and the animators; although Disney expressed concern at the graphic style, he gave his approval stating: "Ah, yeah, yeah, you can fool around all you want to."{{sfn|Canemaker|1996|p=177}} For the stylized art direction, Anderson took inspiration from British cartoonist [[Ronald Searle]],<ref>{{cite book |url = https://books.google.com/books?id=PMK9MQLnRCEC&q=%22work+of+British+cartoonist%2C+Ronald+Searle%22&pg=PT82 |last = Norman |first = Floyd |author-link = Floyd Norman |title = Animated Life: A Lifetime of tips, tricks, techniques and stories from a Disney Legend |publisher = [[Routledge]] |isbn = 978-0-240-81805-4 |year = 2013 |access-date = March 23, 2016}}</ref> who once advised him to use a Mont Blanc pen and India ink for his artwork.{{sfn|Canemaker|1996|p=177}}

In addition to the character animation, Anderson also sought to use Xerography on "the background painting because I was going to apply the same technique to the whole picture."{{sfn|Canemaker|1996|p=177}} Along with color stylist [[Walt Peregoy]], the two had the line drawings be printed on a separate animation cel before being laid over the background, which gave the appearance similar to the Xeroxed animation.<ref name="Redefining the Line"/><ref>{{cite web |last=Amidi |first=Amid |author-link=Amid Amidi |url=http://www.cartoonbrew.com/rip/walt-peregoy-101-dalmatians-color-stylist-rip-108028.html |title=Walt Peregoy, '101 Dalmatians' Color Stylist, RIP |website=[[Cartoon Brew]] |date=January 17, 2015 |access-date=March 23, 2016 |archive-date=March 22, 2016 |archive-url=https://web.archive.org/web/20160322020030/http://www.cartoonbrew.com/rip/walt-peregoy-101-dalmatians-color-stylist-rip-108028.html |url-status=live}}</ref> Disney disliked the artistic look of the film and felt he was losing the "fantasy" element of his animated films.<ref name="Redefining the Line"/> In a meeting with the animation staff concerning future films, Disney angrily said, "We're never gonna have one of those goddamned things", referring to the film's art direction; he also stated, "Ken's never going to be an art director again."{{sfn|Canemaker|1996|p=178}}

Anderson took this to heart, but Disney eventually forgave him on his final trip to the studio in late 1966. As Anderson recalled in an interview:

<blockquote>He looked very sick. I said, "Gee, it's great to see you, Walt," and he said, "You know that thing you did on ''Dalmatians''." He didn't say anything else, but he just gave me this look, and I knew that all was forgiven and in his opinion, maybe what I did on ''Dalmatians'' wasn't so bad. That was the last time I ever saw him. Then, a few weeks later, I learned he was gone.<ref name="Redefining the Line"/></blockquote>