Biography: George Herriman

Capsule biography from Martin Sheridan's book,
"Comics and their Creators" (1942)
Here is a treat. Buried in the stacks of Cartoons Magazines that Marc Schirmeister loaned us to digitize, I found a a great article on George Herriman from June of 1917...







Enjoy!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Interview: Bob Givens- Grand Old Man of Animation

UPDATE: A 50 minute extended version of this interview has just been made available to members of ASIFA-Hollywood. Members, please check your email for downloading instructions.


This week, we were very fortunate to host a visit to the ASIFA-Hollywood Animation Archive by the legendary layout artist, Bob Givens. Will Finn, Mike Fontanelli, JoJo Baptista, Michael Woodside and I were treated to nearly three hours of fabulous stories relating to his six decades in the animation business.


At Warner Bros, Bob designed the character models for the first true Bugs Bunny cartoon, "A Wild Hare", as well as providing background layouts for countless Jones, Freleng, Avery and McKimson cartoons.


Givens' career continued to flourish throughout the television era. He worked on the first TV cartoon, Jay Ward's Crusader Rabbit, as well as Clampett's Beany & Cecil, Post Cereal's Linus the Lionhearted and Hanna Barbera's The Flintstones. Along with Bernie Gruver, Givens designed the classic "Raid Bug" spots for Cascade, and continued to work steadily into his 80s, retiring in 2001 after laying out Chuck Jones' Timber Wolf.


Here is a segment of the interview where Bob discusses his television career...


Bob Givens' Television Career (11.11.08)
(Quicktime 7 / 10 minutes / 24.4 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

I have also posted another clip from this interview to YouTube. This one relates to Bob's work at Warner Bros...


Bob Givens on Warner Bros (11.11.08)
(YouTube / 10 minutes)

Feel free to embed this YouTube video in your own blog or website. Please link back to the ASIFA-Hollywood Animation Archive blog in case your readers would like more information.

Over the next couple of weeks, we will be making available extended segments of this interview exclusively for members of ASIFA-Hollywood. The first 50 minute video file is now available for downloading. ASIFA members, please see your email box for downloading instructions. If you aren't a member yet, you should be.

Many thanks to Bob Givens for sharing his experiences with us, to Mike Fontanelli and Will Finn for taking time out of their busy schedules to speak with Bob, and to Michael Woodside and JoJo Baptista for producing this video.

Will Finn posts his impressions of the interview on his blog, Small Room.

The Second Part Of This Interview Has Now Been Posted... Bob Givens Interview Part Two: War And Working For Walt

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Thanks to Larry Loc And His Animation History Students

This week, the students in Larry Loc's class in Animation History at Cal State University at Fullerton have been submitting biographies to our Cartoon Hall of Fame. Here are a few of them randomly selected for you to browse. They aren't formatted yet, so you have to scroll down to the comments to read them. If anyone out there with basic HTML skills would like to volunteer to format these into the body of the entry, drop me an email at sworth@animationarchive.org.

GROSS, Milt
COVARRUBIAS, Miguel
DEJA, Andreas
SWINNERTON, Jimmy
LOZZI, Art
FORAY, June
SNEYD. Doug
WINTER, Milo
TOTH, Alex
WILLIAMS, Gluyas
CRIPPEN, Fred
TARTAKOVSKY, Genndy
MESSICK, Don
CANEMAKER, John
SUTHERLAND, John

There are lots more great listings in the Cartoon Hall of Fame, like this one Mike Fontanelli recently did..

CAPP, Al

I'll be posting another great Al Capp article by Mike later this week. Keep your eyes peeled for it!
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Event: Afternoon of Remembrance

The Animation Guild, ASIFA Hollywood and Women In Animation present...
AN AFTERNOON OF REMEMBRANCE
a non-denominational celebration of departed friends from our animation community


Renee Alcazar - Roger Armstrong - Dick Arnall - Warren Batchelder - Max Becraft - Pat Boyd - Sheila Brown - Erica Cassetti - Harvey Cohen - Alberto De Mello - Greg Drolette - Walker Edmiston - Ray Erlenborn - Natatcha Estebanez - Becky Fallberg - Mary Lou Ferguson - Ben Ferrer - Lu Guarnier - Ed Hansen - Terry Harrison - Florence Heintz - Dave Hilberman - Dick Hoffman - Steve Krantz - Ryan Larkin - Carol Lundberg - Celine Miles Marcus - John Marshall - Roberta Gruetert Marshall - Tom O'Loughlin - Henry Ortiz - Brant Parker - Nicole Pascal - Charles Nelson Reilly - Will Schaefer - Charlene Singleton - Ken Southworth - Art Stevens - James Street - Iwao Takamoto - Aleksandr Tatarskiy - Caren Terry - Jim Thurman - Elbert Tuganov - Al Wilson - Jack Zander

Saturday, March 1, 2008
Food and refreshments, 1 pm - Memoriams, 2 pm
Hollywood Heritage Museum (Lasky-DeMille Barn)
2100 N. Highland (across from Hollywood Bowl), Hollywood
The Afternoon is free of charge and is open to all; no RSVPs necessary.

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Biography: Jack Davis

This post is just the tip of the iceberg... see reason number 9 on our The Top Ten Reasons To Support The A-HAA for links to great cartoon and pinup art.


Will Finn, in his excellent blog small room recently posted a great article titled Using It, Losing It, and Getting It Back on the decline in drawing quality of Chuck Jones' later work for the animation art market. He offers an interesting theory that perhaps Jones' strength lay in his depiction of personality in motion, and when he chose to focus on static images, his work lost its energy. The fickle nature of the creative spirit is better discussed by artists than by archivists, so I'm not going to add to what Will has said. But I'm going to offer an example from the comic world of a similar nature... Jack Davis.

Please note that I'm focusing on Davis at his peak in this post. If you are interested in looking into how his work seems to run hot and cold, see David Apatoff's insightful article, Counting To Nine.


Jack Davis was a cartoonist from a very early age. His first published work appeared in Tip Top Comics in 1936. He was twelve years old at the time. In 1949, he packed up and moved from Atlanta to New York City, where he was hired by EC Comics to draw for The Vault of Horror and Two-Fisted Tales. At EC, Davis met Harvey Kurtzman, who liked his work and used him in Mad magazine. Kurtzman and Davis also worked together on Little Annie Fanny in Playboy. (See the links below for some examples of this terrific series...)


Davis went on to become one of the most sought-after illustrators and caricaturists in America. His caricatures of public figures appeared on the covers of Time magazine and TV Guide, as well as record covers, movie posters and bubble gum cards. Davis is currently one of the best-known and recognizable cartoonists in the world.


Here is an early Davis story from Mad magazine that shows his immense talents at their absolute best. Every panel of this comic is drop-dead brilliant!

KANE KEEN
Mad Magazine 1953










Many thanks to the talented cartoonist, Amir Avni for contributing the copy of "Son of Mad" from which this great story was scanned. Also thanks to the stalwart archive supporter Eric Graf for lending us record covers from his extensive collection to digitize.

If you enjoyed this post, check out these articles... A Passel of Sokol, Early Erich Sokol Cartoons and More Sokol, Kurtzman & Elder's Little Annie Fanny, Jack Cole And Other Great 50s Playboy Cartoonists, Eldon Dedini Part One and Part Two (video interview!), Doug Sneyd and Phil Interlandi, Early Interlandi Playboy Cartoons and Meet Doug Sneyd.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Biography: Lu Guarnier 1914-2007

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.



Michael Sporn reported today that animator, Lu Guarnier passed away on December 29th. (Read his post here.) He writes...

Tissa David told me that the UPA studio was one long space that was divided into cubicles. She called them “stalls” like horses would occupy at a racetrack. Grim Natwick, Tissa and Jack Schnerk shared the end corner cubicle. The only one who had his own space and the only one to have a window was Lu Guarnier.

Here are the studio gag drawings relating to Lu's window...

















If you enjoyed this post, see... Grim Natwick Exhibit: The Modern Era (UPA and beyond), UPA Model Sheets, Grim Natwick's Post-UPA Commercials, UPA Done Right

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
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2007 Review: 1 Carlo Vinci

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the links to read more on this topic.


From Carlo Vinci: The Training of a Golden Age Animator
August 28th, 2007
NUMBER 1: CARLO VINCI

The history of animation is populated by scores of remarkably talented animators. But Carlo Vinci was much more than just an animator. "Legend" is a word that has been overused in recent times, but when applied to Vinci, it's perfectly apt.

Carlo Vinci was born in New York City in 1906, the only son of Italian immigrants. He showed artistic talent from a very early age, and after graduating from high school, he was awarded a scholarship at the prestigious National Academy of Design. Here he received a full classical arts education. We recently posted the syllabus of his curriculum at the National Academy.


From How To Pick An Animation School December 18th, 2007

The Academy believes firmly in the development of individuality but denies that such development is helped by the ignoring of the universal heritage, the heritage of the graphic manifestations of Man's temperament and impressions. It therefore approves careful consideration of the Art of the past and its correlation with the Art of the present. It encourages progressive experiment admitting the vitality of real Art under and form and condemning only ignorance, insincerity and the contempt which is born of them. -Edwin H. Blashfield, Chair of the National Academy of Design

Around 1933, Vinci joined the staff of Terry-Toons. His classical art training enabled him to advanced to the position of animator in less than a year. In the height of the depression, Vinci was earning $75 a week, a very good salary for the time. His family allowed us to digitize a book that describes the production process at Terry-Toons in the mid 1930s... Nat Falk's How To Make Animated Cartoons.


From Nat Falk's "How Animated Cartoons Are Made"
January 4th, 2007
The next chapter of this fascinating book explains how to animate, with lots of examples of Vinci's amazing animation.


From Nat Falk's "How To Animate" February 3rd, 2007
We also posted a batch of Terry model sheets from Vinci's collection...


...and a cartoon titled "The Temperamental Lion", which features some great Vinci scenes.


From "The Temperamental Lion" January 6th, 2007
John Kricfalusi and I visited Carlo's widow, Margaret Vinci last June. While we were there, she shared a bundle of notes that Carlo had sent her when they were courting. Since they lived on opposite sides of the city, they could only be together one day a week. Between visits, he sent her a note every day in the mail, and on each one was a cartoon commenting on the happenings of the day...


From Carlo Vinci Notes June 5th, 2007
Back in September, a 19 year old aspiring cartoonist named Bruce Watkinson wrote in to say...

The post that blew my mind the most was Carlo Vinci: The Training of a Golden Age Animator, especially the following quote: "Vinci's job was to animate, but his occupation was ARTIST. The same was true of most of the other great talents in animation- Marc Davis, Milt Kahl, Grim Natwick... The reason they were great animators was because they were great artists." Now I’m doing my damn best to be the best, to best the best, and maybe one day to teach what I know to anyone who is interested.

From Carlo Vinci: Training of a Golden Age Animator June 5th, 2007
I agree with Bruce. The most important post of this past year was Carlo Vinci: Training of a Golden Age Animator. Carlo Vinci left behind a lot more than just classic cartoons. He left behind a legacy that will inspire and enlighten artists for generations to come.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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2007 Review: 3 Clair Weeks

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the links to read more on this topic.


From Clair Weeks' Goodbye Book 1952 February 1st, 2007
NUMBER 3: CLAIR WEEKS

The ASIFA-Hollywood Animation Archive owes a tremendous debt of gratitude to the family of Disney animator, Clair Weeks. Weeks was a missionary's son, born in India, who moved to America in the early 30s and ended up working as an assistant animator on Disney's Snow White and the Seven Dwarfs. Here is the book Weeks was given when he applied for work as an artist at Disney...


From the Disney Artist Tryout Book February 6th, 2007
Weeks' wife made a scrapbook of material related to Snow White and the Seven Dwarfs, and the family recently donated it to the permanent collection of the ASIFA-Hollywood Animation Archive...


From Clair Weeks' Snow White Scrapbook December 21st, 2007
After the success of Snow White, Disney relocated his studio to a newly built facility in Burbank. Here is a magazine from Clair Weeks' scrapbook detailing the building of the studio...


From History: The Building of the Disney Studio April 27th, 2007
Weeks was Marc Davis's assistant on Bambi, working closely with him on the animation of the animals in the forest. During the production of the film, Disney instituted a training program where the artists studied animals from life. Here is a collection of Weeks' animal studies...


From Instruction: Clair Weeks Animal Studies March 2nd, 2007
During WWII, Weeks took a leave from the Disney Studios to serve in the military. To keep him informed about the activities at the studio in his absence, Disney sent him this pamphlet...


From Dispatch From Disney's 1943 Part One
July 11th, 2007 and Part Two July 26th, 2007
Weeks returned to the studio after the War and was soon promoted to animator. He worked on Tinkerbell in Peter Pan, but decided to leave the studio to travel the world in 1952. Upon his departure, he was presented with this book, containing autographs and sketches from the entire staff...


From Clair Weeks' Goodbye Book 1952 February 1st, 2007
In 1956, Weeks was invited by Information Films of Bombay, India to set up the country's first animation studio as part of the American Technical Cooperation Mission. Weeks' pioneering influence is still felt in the burgeoning animation business in India...


From Clair Weeks- Pioneer of Indian Animation August 17th, 2007
Many thanks to the family of Clair Weeks for sharing his fascinating story with us.

Go To Number 2 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Theory: How To Pick An Animation School

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about art instruction.


Today, I read a post on Cartoon Brew titled When Angry Animation Students Attack. Apparently, an animation student became frustrated by the poor quality of instruction at his school, so he crapped out his final film and ended it with a credit for his professor that read, "Thanks for nothing."

This particular post resonated with me, because the most common question I'm asked by young artists is, "How should I pick an animation school?" They always expect me to recommend a specific school, but my answer usually surprises them. Before I tell you the advice I give them, take a look at this past post...

Carlo Vinci: The Training Of A Golden Age Animator

Carlo Vinci was one of the most talented animators who ever lived. When he passed away in 1993, he left behind a remarkable legacy. But of particular interest to students of animation was his collection of student work. Tucked away in a closet was a portfolio full of studies that chart his education. Vinci's family is generously allowing the ASIFA-Hollywood Animation Archive to document this material with the intent of reconstructing his education as a model for current students of animation.

Today, I'd like to share a brochure with you... This is the course outline for National Academy of Design, the art school that Carlo Vinci attended... I hope you take the time to read over this material carefully, especially if you are a student looking to pursue a career in animation. It will help you know what to look for in an animation school.


The Academy believes firmly in the development of individuality but denies that such development is helped by the ignoring of the universal heritage, the heritage of the graphic manifestations of Man's temperament and impressions. It therefore approves careful consideration of the Art of the past and its correlation with the Art of the present. It encourages progressive experiment admitting the vitality of real Art under any form and condemning only ignorance, insincerity and the contempt which is born of them.





The students have at all time free access to the Academy's large and valuable collection of standard and rare books on every branch of the fine arts... Of especial advantage to the student is the easy accessibility of the great collections in the Metropolitan Museum of Art, the New York Historical Society, New York Public Library, Brooklyn Museum, the City Hall, the Hispanic Society, and the galleries of innumerable private collectors and art dealers in the city, where the best American works and art treasures from foreign countries may be studied to better advantage than anywhere else in America.

REQUIREMENTS



SCHEDULE OF CLASSES

The class schedule runs six days a week from 9 in the morning until 4 in the afternoon. First year studios in drawing from sculpture, life drawing, portrait painting, still life painting, and composition run from two to three hours apiece. Second year courses consist of life drawing, sculpture from life, portrait painting, etching, composition, and mural decoration. And three hour night courses are offered in sculpture, life drawing, drawing from sculpture and composition.

First year students receive lectures in anatomy, perspective and art history. Second year students attend lecture classes in color theory, various printing techniques, stained glass, mosaic and the history of art and architecture.

COURSE OF STUDY


Note that students first draw from still life and sculpture, and only when they have proved their abilities, are they allowed to advance to drawing from life.






INSTRUCTORS




HISTORY OF THE SCHOOL



PAST GRADUATES






HOW DO I PICK AN ANIMATION SCHOOL?
Here's the surprising answer... You don't! Schools that specialize in animation as a trade do a lousy job of preparing you for a career in animation. While you're a student, you should focus on your core art skills- drawing, design, composition and color. Look for a school that can give you a solid classical art background. Avoid ones that just teach computer programs. You don't have to spend thousands of dollars to learn Maya!

Carlo Vinci was one of the greatest animators who ever lived, but he never took a class in animation. Instead, he spent three years of intense study to learn to be an artist. With the experience he gained at the National Academy of Design, he was able to learn animation and advance quickly on the job. It was the same for great animators like Marc Davis, Chuck Jones and Frank Thomas who studied at Chouinard on the West coast.

IT'S A LOT EASIER TO LEARN ANIMATION THROUGH SELF STUDY ONCE YOU'VE BEEN TAUGHT THE CLASSICAL ARTS THAN IT IS TO DO IT THE OTHER WAY AROUND. Start with the general skills and work your way towards the specific ones.


Students at the National Academy of Design
around the time Vinci attended.
You have an advantage that the Golden Age animators didn't have. Personal computers and inexpensive animation software make it easy to experiment and learn animation on your own. You have amazing resources on the web, like the $100,000 Animation Drawing Course, Mark Kennedy's Seven Golden Camels and John Kricfalusi's invaluable blog, All Kinds Of Stuff. You have no excuse for not learning to animate.

You can't buy an education, but you may be able to buy a degree. Students graduate without any marketable skills from good colleges every year. But that isn't the schools' fault. Your education is your own responsibility. It's not your professor's job to MAKE you learn. Learning is a life-long occupation. Apply yourself.

If you can't afford a university degree, you can still obtain a first class art education. Attend classes at your local community college and pick up copies of the Famous Artists painting, commercial art and cartooning sets on eBay. Self study is the key to becoming a great artist. Once you start to master the fundamental skills, THEN apply yourself to learning to animate.

If you follow this advice, you'll never have to make excuses for your lack of skill as an animator, and you'll never need to blame anyone else for your lack of education. Best of all, your education will form the foundation for any creative endeavor you undertake.

If you found this post to be useful, see also... The Training Of A Golden Age Animator, John K's Advice Letter, Ward Kimball's Advice Letter, CGI Animators Should THINK Like Animators, Live The Fabulous Lifestyle of a Hollywood Cartoonist, The Application Of Inspiration, How To Properly Use Reference, Incorporating Natural Forms, (Visual) Literacy, Why Do We Need An Animation Archive?, Parody: Whack Comics Part One and Ripoff vs Inspiration: Chaplin's Shadow

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Biography: Milton Caniff and Norman Rockwell in Coronet

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.


The Milton Caniff Estate recently loaned the ASIFA-Hollywood Animation Archive copies of two issues of Coronet magazine from 1942 and 1947 to digitize. Here are three articles of interest to cartoonists and illustrators...



AMERICA'S PIONEER JAP FIGHTER
By Howard Whitman








NORMAN ROCKWELL: The People's Painter
By Jack H. Pollack






CONFESSIONS OF A COMIC STRIP ARTIST
By Milton Caniff





Thanks to John Ellis and the estate of Milton Caniff for sharing this with us!

If you enjoyed this post, see... Coronet Magazine December 1945, Milton Caniff's Steve Canyon Sunday Pages, Steve Canyon Dalies, People On Paper, Byrnes' Complete Guide To Cartooning Part One- Meet The Men Behind the Comics and Part Two- Studying Comic Strips, Dispatch From Disney's Part One and Part Two, Propaganda Part One and Part Two, Dan Gordon's Superkatt, Rube Goldberg's Side Show and Alex Toth Model Sheets

STEVE CANYON TV SHOW


The Steve Canyon Special Edition DVD is out now! To order it and for more info on the Steve Canyon TV show, see... www.stevecanyondvd.blogspot.com

STEVE CANYON AT AMAZON

Fantagraphics has a great book on Caniff's career, and Checker has released year by year reprints of the classic Steve Canyon strip. Caniff was a master storyteller, and the first few years of Steve Canyon are examples of his genius at the height of its powers. Click on the pictures for more info.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Biography: The Training of a Golden Age Animator

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


If you have been reading our blog for a while, you're familiar with Carlo Vinci. He was a brilliant animator whose work you've seen many times in Mighty Mouse cartoons...

...and on The Flintstones.

You might remember that John K and I visited his family a few months ago...

This weekend I returned with Archive volunteers Joseph "JoJo" Baptista, Chris Allison and Mike Nassar to photograph some of the incredible artwork that lines the walls of Mrs. Vinci's beautiful home. Carlo Vinci left behind an important legacy, and the family is now sharing it with you.

It's interesting how different aspects of one's life can come together to point in the same direction. Recently, I was participating in an internet discussion forum where we were discussing the best way to educate aspiring animators. Some people in the discussion felt that basic drawing skills are necessary. Others believed that drawing is unnecessary for students aiming at a career in computer animation. There was disagreement over just what sort of education is best for a student animator. This led me to ask a question... What sort of education did golden age animators have?

Carlo Vinci provides the answer...


Carlo Vinci attended The National Academy of Design in New York. This isn't just any art college. This is one of the most prestigious art schools in the world. It's the school that Winslow Homer, Thomas Nast, William Steig, Norman Rockwell and James McNeill Whistler attended. Students are accepted by invitation, free of tuition or cost. The instructors are major artists who serve without pay as a public service. At the end of his studies, Vinci didn't just receive a diploma. He was awarded a medal and was given the honor of being able to put N.A. after his name. (Much like the Royal Academy in the UK awards R.A. status.)

Vinci's work at the National Academy included studying the work of classical painters. Here are two paintings he made after Boucher...



Yes. That's the work of the guy who animated The Flintstones!

Vinci had a life-long passion for learning. He studied sketching from life, painting in oils and watercolor, as well as sculpture and etching. He studied from early in the morning until late at night. Here is one of his student drawings- a self portrait.



His family told me that he was always working and studying. On weekends, he would paint in oils and watercolors. He painted portraits...



...and landscapes...


...and still lifes...


He was an accomplished illustrator...



...and he worked in a dozen totally different styles.

He even designed and painted murals and stained glass windows...


Carlo Vinci wasn't just an animator. He painted, sculpted, designed, illustrated... He worked in the fields of fine art, illustration and cartooning. He was a LOT more than just an animator.

Vinci's job was to animate, but his occupation was ARTIST. The same was true of most of the other great talents in animation- Marc Davis, Milt Kahl, Grim Natwick... The reason they were great animators was because they were great artists.

If you're an animation student, go back and read that last sentence again.

I'm not an animator. I studied graphic design at UCLA. I spent many months learning to spec type, do pasteup, calculate reductions on a Lucigraph and use a Rapidograph pen. A few years after I graduated, the Macintosh came out and all of those skills became obsolete. What I was left with when the dust cleared was my knowledge of composition, color and design.

If you're an animation student, focus on your core art skills, regardless if you plan to do hand drawn, CGI, cut out or puppet animation. Computer programs will come and go. You can always teach yourself Maya or Flash or whatever on your own time. Demand that your school provide you the same quality of education that Carlo Vinci had. Work hard. Study to become an ARTIST.

Read Illustrator Lainey Schallock's comments on this post in her blog, Miscellainy.

If you enjoyed this article, you'll also want to check out... How To Pick An Animation School, Profile of Carlo Vinci, Carlo Vinci Notes, The Temperamental Lion, John K on Flintstones Animators

Also see... An Interview With Playboy's Eldon Dedini, John Canemaker on Bill Tytla, Tytla At Terry: Mighty Mouse Meets Jekyll &' Hyde Cat 1940, The Pencil Test of Art Babbitt's Best Scene, and Remembering Berny Wolf

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Biography: Ward Kimball- Escapader Cum Laude

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


OK. With that picture above, you probably think I've gone off the deep end! But look a little further... This "girlie" magazine from the late fifties has incredible cartoons and illustrations... and an article on the incomparable Ward Kimball!


How the wildest "Old Man" ended up in a men's magazine is anybody's guess. But the article captures Kimball at his peak. And the great illustrations and cartoons in the magazine itself (including a Searle influenced trip to Europe by Schoolhouse Rock designer, Bob Eggers) express the joyful exhuberance of the era. As an added bonus, there's an ad for the Famous Artists Course featuring the inspiring life story of illustrator, Albert Dorne. Enjoy!















Thanks to archive supporter Gary Francis for sharing this gem with us.

If you enjoyed this article, you'll also want to check out... An Interview With Playboy's Eldon Dedini, John Canemaker on Bill Tytla, Tytla At Terry: Mighty Mouse Meets Jekyll &' Hyde Cat 1940, The Pencil Test of Art Babbitt's Best Scene, our Profile of Carlo Vinci, and Remembering Berny Wolf

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Meta: New Name- Cartoon Hall Of Fame

We've changed the name of the website devoted to our biographical encyclopedia. It's no longer the Biopedia... Now it's the Cartoon Hall Of Fame cartoonhalloffame.org!

VOLUNTEER OPPORTUNITY
We are looking for people who can help us research and enter information on the artists in the online Cartoon Hall Of Fame. This is a good way to volunteer if you aren't in the Los Angeles area, and you'll find out about a lot of amazing artists at the same time. If you're interested in helping out, drop me a line at... sworth@animationarchive.org

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Biography: The Father of Cartooning- T. S. Sullivant

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.



T. S. Sullivant is one of the most important cartoonists in the history of the medium. He pioneered many of the elements of anthropomorphism that we now take for granted. The general public may not be familiar with his name, but animators sure appreciate his work. (See Eddie Fitzgerald's first article on Sullivant and his second.) The influence of Sullivant's animals (along with the work of Heinrich Kley...) can be seen in many of the Disney features.

Sullivant was born in 1854, and didn't begin cartooning professionally until the age of 32. His cartoons appeared in Life and Puck during the 1890s, and in Judge around the turn of the century. William Randolph Hearst signed him to an exclusive contract in 1904, and his mastheads populated by cartoony animals appeared on the top of the Hearst comics pages until 1907. Sullivant returned to Life magazine in 1911, and remained there until his death in 1926.

Sullivant's pen and ink style doesn't really suit itself for reproduction on a computer screen, but I have made large versions available of all of these images. Just click on the picture to see it larger.


















For more on pioneering cartoonists, see... Cliff Sterrett's Polly & her Pals Part One and Part Two; Milt Gross Sunday Pages Part One, Part Two and Part Three; Harrison Cady's Birds' Eye Views and Rube Goldberg's Side Show

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

1.21.09
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Biography: Clair Weeks' Goodbye Book 1952

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


Today, we had a visit from the family of Clair Weeks. They brought along several portfolios full of beautiful drawings, mostly from Bambi. Over the next few weeks, they will be allowing the ASIFA-Hollywood Animation Archive to digitize the material for inclusion in our database. They also promise to write a Biopedia Page for Weeks. Here is the "Readers' Digest version" of Weeks' career...

A missionary's son, Clair Weeks was born in 1912 in India. He lived there until the early 1930s, when he relocated to America. In 1936, he joined the staff of the Walt Disney Studio and set to work as an assistant on Snow White. He went on to assist Marc Davis on Bambi, CInderella and Peter Pan, taking a brief break from animation to serve in the military during WW2.

In the early 50s, Weeks left the studio travel the world. He eventually settled in Bombay, India, where he headed up a government owned studio that produced animated shorts. Weeks' impact on Indian animation was immense. The people he trained were the pioneers who established the Indian animation industry.


The treasure I'm presenting today dates to August of 1952... It's the scrapbook given to Weeks upon his departure from Disney. I won't spoil the fun by telling you what's in it. Click on the images and prepare to be amazed! (Thanks to Hans Perk for the identifications!)



Members of the "9 Old Men": Marc Davis (Weeks was his assistant), Ollie Johnston, Frank Thomas, Milt Kahl, Eric Larson / Assistant Animators: Bob McCrea, Clarke Mallery, Iwao Takamoto, Julius Svendsen, Bill Eigle (?)


Ben Sharpsteen (Director) / Hazel George (Studio Nurse) / Hal Adelquist (Asst. Director) / Oliver Wallace (Music) / Koneta Roxby (Library) / Bob Gibeaut (Cutting) / Jo Sears (Ink & Paint / Production)


Layout Artists: Lance Nolley, Al Zinnen, Don Griffith, Ken Anderson, Ken O'Connor, Mike Holoboff, MacLaren Stewart, Basil Davidovich, Tom Codrick, Charles Philippi / Background Artists: Jimi Trout, Hugh Hennesy, Ray Huffine, Art Riley, Dick Anthony, Ralph Hulett, Al Dempster, Claude Coats, Art Landy / Art Directors: Thor Putnam, John Hench / Directors: Jack Kinney, Charles "Nick" Nichols, Gerry Geronimi, Wilfred "Jaxon" Jackson / Asst Directors: Bee Selck, Lou Debney, Toby Tobelman (?) / Directors' Secretary: Marie Dasnoit / The Man: Walt Disney / Tom Jekel (?)


Animators: Bob Youngquist, Jack Campbell, Les Clark (9 Old Men), Hugh Fraser, John Lounsbery (9 Old Men), Harry Holt, Art Stevens, George Nicholas / Asst Animators: Walt Stanchfield, Lou Appet, Bob Ogle, Dale Barnhart


Don DaGradi (Art Director)



Animators / Assistants: Dick Lucas / Al Wilson / Jim Steele / Eric Cleworth / Ambrozy Paliwoda / Jerry Hathcock / Charlie "Chuck" Downs / Bob Carlson / Woolie Reitherman (9 Old Men) / Ed Soloman / Wathel Rogers


Bonar Dyer (Personnel) / Mary Flanigan (Notary) / Bunny Venable (Production or Legal)



Mostly Effects Animators: Retta Davidson, Dwight Carlisle, Joe Nunez, Sandy Strother, Dan MacManus, Al Severns, George Rowley, Marion Mahnken, Jack "Buck" Buckley, Frank Onaitis, Ed Parks, Jane Fowler


Ed Aardal (Animator) / Harvey Orr (Print Shop) / Johnny Bond (Head of Clean Up)




Ken Peterson (Animator / Prod. Mgr. / Scheduling) / Andy Engman (Effects Animator / Prod. Mgr.) / Esther "Esta" Haight (Front Office File Room / Western Union) / Anne Meyer (Production?)


Thanks to the family of Clair Weeks for sharing this with us!

If you enjoyed this post, you'll also want to check out... Art Babbitt's Best Scene / Canemaker on Tytla Part One and Part Two and Carlo Vinci, Pioneer Animator

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

11.26.08
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Media: Ralph Bakshi's Phone Doodles

This post is just the tip of the iceberg... see the bonus reason on our The Top Ten Reasons To Support The A-HAA for links to more great posts featuring animation art.


Today, I hope you'll allow me to tell you about someone I have had the honor of working closely with. He's my hero too. If anyone ever creates a Mount Rushmore of animation, his head should be right up front, grinning with a stub of a cigarette in his mouth-- Ralph Bakshi.


I'll be doing a panel discussion with Ralph at the San Diego ComicCon this year. The subject of the discussion will be what it means to be an artist and cartoonist in today's world. Whether you're lucky enough to be able to make a living doodling, or if you still dream of being paid to create, you won't want to miss this important presentation...

Artists Only: A Chat With Ralph Bakshi
San Diego ComicCon Room 10
Saturday, July 26th, 2008
4:30 to 5:30 pm

Ralph will be appearing at other events at the ComicCon this year as well. More info on those as his schedule is finalized.


If you are an artist working in animation, whether you know it or not, Ralph Bakshi is the reason you're here. Don't believe me? Throw your mind back to 1970. Look at what the animation business had turned into... Disney was cranking out Robin Hood, a film without a single new idea. On TV, Filmation was lowering the bar so Hanna Barbera could play "quality limbo" with them. Animation was dying, animators were choosing retirement over flogging the dead carcass of the art form they loved, and it looked like it the situation would never get any better.


Enter Bakshi. With his first three films, he turned animation upside down. He showed that it wasn't just a medium for big bears with Phil Harris's voice and crappy sitcom characters in outer space. His films shocked and terrified people... they were crass and sloppy. They were made on a shoestring, and sometimes it showed. But they had something honest to say, and that got noticed. Ralph showed that animation- the most collaborative art form ever- could be an intensely personal medium.


Ralph's first three films- Fritz the Cat, Heavy Traffic, and Coonskin- came totally out of the blue. They are the animation equivalent of Louis Armstrong's Hot Fives. Great old time animators like Irv Spence, Ambi Paliwoda and Virgil Ross were offered the opportunity to cut loose and make films that weren't just cats chasing mice and dogs chasing cats. These films dealt with what it meant to be an artist, the battle of the sexes, race relations, and the unsenimentalized realities of urban life. They were improvisational and had no rules.


These three films, made in the darkest of the dark ages of animation, offered a glint of hope for what animation could become. If all you've seen of Ralph's work is Lord of the Rings and Fire and Ice you don't know what I'm talking about here. All of the adult targeted animation you see in the US today has its roots in Ralph's example in these three films. They stirred up controversy and caused riots at screenings back in the day, but now they seem to us like they could have been made yesterday, not three decades ago- except for the fact that today's world has trouble accepting brutal honesty when it comes to politically charged topics. Ralph has never been one to pull punches.



In the 1980s, Ralph did for television animation what he did for theatrical features, blowing the lid off of CBS's Saturday morning schedule with Mighty Mouse: The New Adventures. Ralph took a chance on the ideas of a kid named John Kricfalusi, and set up the studio after the unit structure model used at Warners. Stories were written with storyboards again. (See the note from John K in the comments.) Artists were cut loose to create cartoons. Without Mighty Mouse, there never would have been Ren & Stimpy or The Simpsons. The artists who worked on Mighty Mouse have gone on to lead the TV animation industry.


Ralph is an absolute genius when it comes to spotting raw talent. He can take a kid straight out of school and turn him into a pro faster than anyone else. Every film had its "graduating class" of kids. Those kids now populate the animation business on every level, from the top Producer at Disney feature to the creative sparks at Warners. I know of Bakshi alumni who are top dogs at Dreamworks and the CGI companies too.



As a filmmaker, Ralph is one-of-a-kind. He doesn't make films for executives... he doesn't even make films for a specific audience. He makes them for himself. You can count the number of animators capable of using this unweildy medium for personal expression on one hand and still have fingers left. Ralph is one of them.


But Ralph is not only the greatest living animation artist. He is the catylist that has more than once pulled the industry out of a hole so deep people had just about given up on cartoons. For that alone, he deserves the respect of any and all animators, whether they like his work or not.


If this business needs anything right now, it's another go round with Bakshi. The era of shi-shi "distressed" animation desks complete with faux wormholes, and middle management producers driving Jaguars paid for by their bonus checks is over. That was great for the people lucky enough to hook up to the gravy train while it lasted. But times have changed. The people left standing will be the ones who REALLY CARE about the medium of animation.


You can take my word for the fact that no one loves cartoons more than Ralph. Sit down and ask him about Jim Tyer. (Ralph was Tyer's assistant...) Listen to what he has to say about Spence or Maltese or any of the other old timers he brought in to work on his films. Ralph lives and breathes animation. His drawings are imbued with the whole history of the medium. He announces his retirement every once in a while, and swears off cartoons forever, but it's in his blood. Just count the days till the bellowing voice out of the blue hollers "BAKSHI'S BACK, YOU BASTUHDS!" over the studio intercom again.



It's time for Ralph to rent a warehouse, fill it full of kids with big dreams, raw talent and lots of ideas and crank out a film. It doesn't even matter if it turns out crappy. It'll be a shot in the arm to the whole business, and it just might lead to something even better. I know I'd love to be a part of it. --Stephen Worth


Visit Ralph's web page... RalphBakshi.com.

UNFILTERED: The Complete Ralph Bakshi isn't one of those "art books" with postage stamp sized pictures floating in oceans of tasteful white space and huge text blocks of scholarly blather that crowds out the images. It's just pictures, pictures and more pictures... along with just enough text to put them in context. The book is organized to show Ralph's career from his earliest days at Terry-Toons, to his groundbreaking features, to his revolutionary TV work, to his most recent fine art paintings. Even if you think you know all there is to know about Bakshi, this book will grab you by the lapels and shake you and show you things you've never seen the likes of before. Click through the link to pick up the Bakshi book at Amazon.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

6.26.08
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