In the late 1930s, when few doors were open to the son of a poor Chinese immigrant, Tyrus Wong landed a job at Walt Disney’s studio as a lowly “in-betweener,” whose artwork filled the gaps between the animator’s key drawings. But he arrived at an opportune moment.
Disney’s animators were struggling to bring “Bambi” to the screen. The wide-eyed fawn and his feathered and furry friends were literally lost in the forest, overwhelmed by leaves, twigs, branches and other realistic touches in the ornately drawn backgrounds.
“Too much detail,” Wong thought when he saw the sketches.
On his own time, he made a series of tiny drawings and watercolors and showed them to his superiors. Dreamy and impressionistic, like a Chinese landscape, Wong’s approach was to “create the atmosphere, the feeling of the forest.” It turned out to be just what “Bambi” needed.