Geertje Aalders

 

Papercut illustrations by Geertje Aalders for Mary Poppins translated by Tiny Fisscher published in 2018.

Tony Walton

Tony Walton (19342022) was a costumier and set designer whose first movie resulted in an Oscar nomination for “Mary Poppins.” working with his childhood sweetheart and then-wife, Julie Andrews. 

Above and below: Tony Walton and Julie Andrews on the set of Mary Poppins.

Walt Disney at the suggestion of the Sherman Brothers, changed the timeline for Mary Poppins from 1930 to 1910 as he didn't own the rights for Mary Shepards illustrations this change of date allowed Tony room to re-imagine the costumes for the characters. In this way Tony could avoid any accusations of copying the original illustrations from the book.

"I wanted to give Mary Poppins a secret life. I did this by making her clothes gray, black or slate but showing she had a secret life by their linings, which were always flashes of crimson or some very bright colour." Tony Walton 

Tony said: 'Because I think that's what gives her pleasure. Very formal on the outside and a little bit wicked on the inside, so to speak.""That completely gave me a clue as to her character. Big, big help for me." Julie Andrews 

As Mary Poppins flies a lot in the film, most of her costumes had to be duplicated in a larger size to accommodate the harness Julie Andrews had to wear. 

"This was a thick elastic body stocking, which started at my knees and ended above my waist. The flying wires passed through holes in the costume and were attached to steel panels on either hip."

 "I literally did a lot of 'hanging around' between takes, and when I was suspended, the steel panels pressed on my hip bones, which became very bruised. Sheepskin was added, which helped, although it was barely enough, since I couldn’t look too bulky." Julie Andrews

Peter Ellenshaw

Peter Ellenshaw (1913 -2007) was employed by Disney to create 100 matte painting for the production  of Mary Poppins. Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Cleverly For the cityscape of London at dusk, Peter purposefully put little holes in his painting so that lights could shine through the back to make it look like the lights coming on in the city. 

Above: Original scene study for Mary Poppins; An alternate view of the Banks' home from the neighbouring park's gates.

Above: Original scene study for Mary Poppins; A view of the Banks' home at 17 Cherry Tree Lane, the admiral's house is visible just beyond.

Above: Original scene study for Mary Poppins; A view of the alley outside of Uncle Albert's house.

Jim Schaeffing

Jim Schaeffing (1920- 2020) Jim studied at the Art Institute of Pittsburgh and then went into the navy and served in Spain from 1942-1945. He then studied a further 3 years at the Jepsons Art Institute in Los Angeles. He then worked as a commercial artist for Charles E Cooper Studios in New York. Here he and his wife Becky had three children, however her family were all in LA and so they decided to move back to there where they would have more support they found a home in San Fernando Valley and a Jim had a studio in Beverly Hills. Jim continued to do freelance illustrations and commercial work before running into a friend who was working in film. Jim then applied and got a job with Disney where he worked for 19 years. 

"After working several weeks , my sketches were ready for Disney to approve or disapprove. He walked in the door and after good mornings, the producer said, "We have a new sketch artist." He introduced me and I shook his hand and said, "Nice meeting you Mr. Disney." He looked at me and said, "My name is Walt." Jim Schaeffing 

 

"While working on Mary Poppins I did the chalk drawings on the sidewalk that Dick, Julie and the children jump into. I remember the workman brought each one of those large cement slabs (18"x 30") up to my studio to do in chalks." Jim Schaeffing

 

Don DaGradi

Don DaGradi (March 1, 1911 – August 4, 1991) 

One of Don DaGradi's greatest achievement was for his visual screenplay for Mary Poppins in 1964 for which he shared an Oscar nomination for Best Adapted Screenplay with Bill Walsh. 

The team at Disney had to transcribe the P L Travers Mary Poppins adventures into a film story, they spent over two years doing this before consulting with P L Travers and when Pamela came to 'help' with the. screenplay' she hated it! It must have been extremely difficult to be part of a enthusiastic supportive team working on a project for over two years and then have the author come in and be so dismissive and angry at the work you have done. But also to be the author with her personal ownership of the ideas and themes of a particularly autobiographical work.

Above: Don DaGradi working on storyline for Mary Poppins. Below Don's sketchs of meetings with PL Travers.

A L White and Mary Poppins

Little Golden Books produced 'Walt Disney's Mary Poppins' Adapted By Annie North Bedford and illustrated by Al White and published in 1964. AL White was a background artist illustrator and animator who worked as an Illustrator for Golden Books from the 1959 to 1964, Working on the books listed below. unfortunately that is all the information that I can find about him.

“Huckleberry Hound Builds A House” Little Golden Book 1959

“Rocky and His Friends” Little Golden Book 1959

“Winnie The Pooh: A Tight Squeeze” Golden Press, 1980 by Milne, A. A

“Walt Disney’s Pinocchio And The Whale” Golden Press 1961 by Ingoglia, Gina.

“Walt Disney’s The Wizards’ Duel” (Motion Picture, “The Sword in the Stone”), by Memling Golden Press 1963

“Walt Disney’s Mary Poppins” (Motion Picture) Bedford, Annie North (adapted by) Golden Press 1964