Filmography: Ko-Ko the Clown in Jumping Beans 1922

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.


Today, I am finally acknowledging a supporter of ASIFA-Hollywood and our Archive that I really should have thanked long ago... Ray Pointer. Ray is an animator and producer who has been dedicated to preserving the history of animation for decades. Through his production company, Inkwell Images, Ray restores and annotates classic animated films from the earliest days of the medium. Without his hard work and research, these wonderful cartoons might be forgotten and unappreciated. Thanks for the great work, Ray!

Here is a 1922 cartoon from his "Out of the Inkwell" DVD collection... Ko-Ko the Clown in "Jumping Beans".




Ko-Ko the Clown in "Jumping Beans" (Fleischer/1922)
(Quicktime 7 / 15.8 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.

Max Fleischer was an important pioneer in the history of animation, and his influence is still being felt. Here, from the brilliant cartoonist Eddie Fitzgerald's blog, Uncle Eddie's Theory Corner is an excerpt from a hilarious "fume-Eddie" comic titled, Out of the Ink Bottle...




Eddie Fitzgerald: Out of the Ink Bottle

If you enjoyed this cartoon, see these previous postings... I'm Forever Blowing Bubbles, Mariutch, Swing, You Sinners, You're Driving Me Crazy, Betty Boop in Snow White, Popeye in Li'l Swee Pea, Grim Natwick in New York, Nat Falk's "How To Make Animated Cartoons" Part One: History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: Drawing For Animation and Part Five: How To Animate.

Archive supporter, Ray Pointer has produced a fantastic collection of rare Out of the Inkwell cartoons on DVD. The set includes beautiful restorations of 29 cartoons, including the one above, along with expertly produced documentary footage explaining the history of the Fleischers. You can order this great set at... InkwellImagesInk.com.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Illustration: Harper Goff in Coronet Magazine

This post is just the tip of the iceberg... see The Top Ten Reasons To Support The A-HAA for more jaw dropping images from classic illustrated books and magazines.


Illustration by Harper Goff
Today, in honor of Presidents Day, we present another batch of illustration from late 40s Coronet magazines. This group of images isn't interesting so much for their style as much as their authenticity. With a clarity of staging reminiscent of production designs for classic motion pictures, these paintings vividly show the value of careful research into period costume, props and decor. The first batch is a history of medicine by Leslie Saalburg. The last is a review of classic children's literature by Douglass Crockwell. But the most interesting is the middle feature, Carl Sandberg's "Blood on the Moon" illustrated by Disney imagineer, Harper Goff.

Harper Goff was born in 1911, and studied art at Chouinard Art Institute. He was an accomplished illustrator, working for Colliers, Esquire and Coronet. Goff was employed as a set designer for Warner Bros on classic films like Sergeant York, Casablanca and Captain Blood. He met Walt Disney in a model train store in London, and was invited on the spot to join the Disney staff.


Goff's first assignment was to storyboard a True Life Adventure story dealing with undersea life, but expanded the idea into a feature film adaptation of Jules Verne's 20,000 Leagues Under The Sea. Goff's designs for the submarine and its plush interiors were the most striking part of the film, resulting in an Oscar for Art Direction and Special Effects. Goff played banjo in the Disney studio Dixieland jazz band, "The Firehouse Five" and was the designer of the World Showcase at Epcot. He passed away in 1993.

MEDICINE ONE HUNDRED YEARS AGO
by Leslie Saalburg








SANDBURG'S BLOOD ON THE MOON
By Harper Goff









A TREASURY OF LITERARY CLASSICS
by Douglass Crockwell







Thanks to Rich Borowy for donating these great vintage magazines to the ASIFA-Hollywood Animation Archive.

If you enjoyed this post, see... Casey Strikes Out In Coronet, Bugs Bunny in Coronet Magazine December 1945, Milton Caniff in Coronet Magazine, Dispatch From Disney's Part One and Part Two, Mid 30s Colliers Illustrations, Mid 30s Advertisements, Late 40s Colliers, Lawson Wood: The Monkey Artist, John Held Jr, Ward Kimball in Escapade, Complete Guide To Cartooning On Magazine Cartoons Part One and Part Two, and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Pinups: Little Annie Fanny Takes A Trip

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 more great pinup art.


Today, we continued to work our way through the collection of Playboy magazines that we have been digitizing for the past year or so. Here are two more "Little Annie Fanny" episodes from late 1960s Playboys. If you missed our previous posts on this classic series by Harvey Kurtzman and Will Elder, see the links at the bottom of this post.


The first story up features some great work by a cartoonist we recently profiled, the master caricaturist, Jack Davis. Check out his great crowd scenes on the third and fourth page. Also remarkable are Kurtzman's brilliant layouts for the first two pages (you can feel the pitch and roll of the ship!) and the Mad magazine style final bird's eye view.






The second story up is a different type of trip, with a psychedelic "op art" touch and a full page downshot crowd scene for the climax. The "Little Annie Fanny" series was probably the most elaborately drawn comic strip ever!





Check out these great "Little Annie Fanny" collections at Amazon.com!

As always, let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

If you enjoyed this post, check out our articles on Kurtzman & Elder's Little Annie Fanny, More Little Annie Fannie, Kurtzman Comic Books, Biography: Jack Davis, Early Erich Sokol Cartoons, A Passel Of Sokol, and More Sokol, 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
.

Stumble It!

Cartoons: Casey Strikes Out In Coronet Magazine

This post is just the tip of the iceberg... see The Top Ten Reasons To Support The A-HAA for more jaw dropping images from classic illustrated books and magazines.


Today, we present another batch of illustration from late 40s Coronet magazines, including work by Douglass Crockett and Vera Bock. Last time, we featured Bugs Bunny. Today, it's Casey At The Bat. Enjoy!









CASEY AT THE BAT






Thanks to Rich Borowy for donating these great vintage magazines to the ASIFA-Hollywood Animation Archive.

If you enjoyed this post, see... Bugs Bunny in Coronet Magazine December 1945, Milton Caniff in Coronet Magazine, Dispatch From Disney's Part One and Part Two, Mid 30s Colliers Illustrations, Mid 30s Advertisements, Late 40s Colliers, Lawson Wood: The Monkey Artist, John Held Jr, Ward Kimball in Escapade, Complete Guide To Cartooning On Magazine Cartoons Part One and Part Two, and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Comics: Virgil Partch's Wild, Wild Women Part Four

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 print cartoonists.


It's been quite a while since we posted any comics from Virgil "Vip" Partch's greatest collection of cartoons, The Wild, Wild Women. If you missed our previous postings on this wonderful book, see Virgil Partch's Wild, Wild Women Part One, Part Two and Part Three.
















Let me know in the comments if you'd like to see more by Vip Partch.

For more examples of Virgil Partch's genius, see Virgil Partch's Wild, Wild Women Part One, Part Two and Part Three; Here We Go Again and Man The Beast.

Also see... George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Pinups: A Passel of Sokol

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 more great pinup art.


Today, we continued to work our way through the collection of Playboy magazines that we have been digitizing for the past year or so. Here is a batch of cartoons by Erich Sokol. We start out with a biographical feature on the cartoonists who worked for Playboy in the mid-1960s.



Next up is a Sokol feature that highlights his remarkable ability to caricature...




And a pile of Sokol cartoons from the late 1950s through the early 70s. Check out the wide variety of colors, the attention to light and the skillful composition in these cartoons...










As always, let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

If you enjoyed this post, check out our articles on 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

Stumble It!

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
.

Stumble It!

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
.

Stumble It!

2007 Review: 4 Advice For CGI Animators

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 link to read more on this topic.


In 1914, Max Fleischer invented the rotoscope as a time and labor saving way of producing animation. He soon came to realize that although the device was a great aid in effects and technical animation, it was a poor substitute for character animation.



In 1986, engineer Ernie Blood developed motion capture techniques as a time and labor saving way of producing animation. A decade and several mocap features later, many CGI animators are coming to the same realization that Max Fleischer and his staff had more than a half century ago.

NUMBER 4: ADVICE FOR CG ANIMATORS

One of the principle purposes of this website is to provide the link between animation of the past and animation of the future. The principles that brought Pinocchio and Bugs Bunny to life are the same principles that should be used to create current computer animated characters. This is not a website devoted to promoting hand drawn animation. This is a website devoted to promoting animation.


Bakshi Phone Doodle
Ralph Bakshi is a monumental force in the world of animation. I convinced him to come out of retirement to speak directly to the CGI guys in the trenches and share his viewpoint on the current state of animation. Ralph has an uncanny knack for kicking your ass in a way that makes you want to say "thank you!" afterwards. These two articles are Bakshi at his best.

There are no sides here, only techniques. The important thing is to do something more than just sell dolls and hamburgers, or get the best table at some bullshit restaurant. Stop crying. Go out and do something. Starve to death if you have to. It's honorable. -Ralph Bakshi

Bakshi Speaks To CGI Animators August 13th, 2007

Bakshi On 2D vs. 3D August 31st, 2007

A few weeks ago, I stuck my own head on the chopping block with a post titled, CGI Animators Should THINK Like Artists. I received some flak from an industry pro who said, "You take an all-or-nothing approach, where everything ever done in CG animation is crap, and everyone making these films are dopes." Well, that isn't what I'm actually saying... Crappy animation is crappy animation, no matter what technique is used to create it. And a lot of great artists are working on crappy CG films. The problem isn't that CG animation sucks and the people making it are dopes... It's that the current crop of CG features don't come close to scratching the surface of what's possible using the medium.


In the late teens and early 20's, hand drawn animation was in the same place CG is today. Everyone was focused on developing technical processes and filing patents on techniques. The drawings were realistic and stiff, the stories were simplistic, and they recycled cliched formulas and stock animation without a great deal of variety. Audiences didn't mind, because they were amused by the novelty of drawings that moved. But the novelty eventually wore off.

The medium had to advance itself creatively to survive, and animators like Otto Messmer and Bill Nolan stepped up to the bat to pioneer personality animation, the Fleischers developed musical timing, and Walt Disney codified the fundamental principles of animation like overlapping action, follow through and squash and stretch. We can learn a lot from the past. Motion libraries and rotoscoping were a dead end in 1925 and they're a dead end now. Earl Hurd's patent for the cel system didn't make cartoons any more entertaining, and neither do new techniques for rendering fur or water in CG. The thing that makes cartoons better is to utilize the unique aspects of the medium to tell new and original stories in an expressive and creative way.


In this article, I use an illustrated book from a century ago to attempt to show how the reference on this website is relevant to artists working in the field of computer animation...

CGI Animators Should THINK Like Artists
November 28th, 2007

I ask every animator who walks through the doors of the ASIFA-Hollywood Animation Archive for the same favor... Use the resources I'm sharing with you to make animation that people like me who love animation would want to watch. That goes the same for animators who use a computer as it does those who use a pencil. Take Ralph's advice to tell fresh and original stories, and my advice to think like an artist, and you can't go wrong.

Go To Number 3 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

2007 Review: 6 Milton Caniff

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 Milton Caniff And Norman Rockwell In Coronet Magazine September 11th, 2007
NUMBER 6: MILTON CANIFF

This year, we were very fortunate to be able to digitize and share artwork from the estate of comic legend, Milton Caniff. Archive supporter, John Ellis is producing a series of DVDs of the classic TV series, Steve Canyon, and generously agreed to share his research on Caniff and Steve Canyon with the ASIFA-Hollywood Animation Archive.


Milton Caniff in his studio ca. 1947
(click for a larger view)
Ellis shared his thoughts about Caniff with us in our first post on the subject, Milton Caniff's Steve Canyon Dalies...

Milton Caniff has been referred to as "The Rembrandt of the Comic Strip", and oft by himself as "an Armchair Marco Polo", but in fact this whirlwind of a comic strip innovator and writer was essentially a sincerely nice man who loved to draw. Yes this gentleman born in Hillsboro Ohio in 1907 created and drew Terry and The Pirates from 1934 to 1946, which absolutely set the standard for the adventure comic strip. True, he raised the bar with Steve Canyon, which unlike Terry, he owned lock stock and barrel from the first daily strip in January 1947 through to June 1988, the final installment published shortly after his death. Absolutely he worked rain or shine, seven days/strips a week for 54 years, even from his hospital bed, the deadlines never ended.

From Milton Caniff's Steve Canyon Dalies March 28th, 2007
In his article, "Detour Guide For An Armchair Marco Polo" from Gene Byrnes' Complete Guide To Cartooning Caniff writes...

There has been a tendency recently for artists to automatically assume they cannot write their own stories because they see so many double by-lines. I contend that any man who can invent pictures can invent situations and dialogue. In fact, it should be easier for the artist to pilot his own action because he is not likely to write himself into one of those undrawable dilemmas in manuscripts about which illustrators have complained for years.

Milton Caniff with Jack Benny from
Milton Caniff- A Remembrance May 30th, 2007
Caniff's nephew, Harry Grant Guyton shared some of his memories of his "Uncle Milt"...

Of course Milton Caniff was a stickler for accuracy, but his fans were eagle-eyed. I was with him at Holloman Air Force Base in New Mexico. He climbed into the cockpit of a fighter plane (an F-104 I believe), and spent maybe five minutes in it. That evening, he used it in Steve Canyon. He had committed the control panel in that cockpit to memory, and months later when the strip was published, he received numerous letters saying that had Steve been flying as high as Milt implied in the strip, one of the gauge readings was wrong.

From Milton Caniff And Norman Rockwell
In Coronet Magazine September 11th, 2007
MORE CANIFF ARTICLES

• Byrnes' Complete Guide To Cartooning Part One March 6th, 2007


• More Steve Canyon Dalies May 30th, 2007


• Parody- Steve Crevace in Whack! Comics May 8th, 2007


• Comic Artists At Work: People On Paper (MGM/1945) April 19th, 2007

John Ellis promises more great material on Milton Caniff in the coming year. You can find out information about the Steve Canyon TV series at his blog...

Steve Canyon on DVD

Go To Number 5 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

2007 Review: 8 Writing Cartoons

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 link to see more on this topic.



NUMBER 8: WRITING CARTOONS

One of the best things to happen to animation in the past few years is the growth of blogging among animation professionals. Topics that used to be discussed only in obscure trade journals or at private symposiums are now discussed publicly on the internet, where participants from all over the world can benefit from the exchange of information.

One of the principle catalysts for discussion on the net is John Kricfalusi's blog, All Kinds of Stuff. A series of John's posts on writing for animation created a wave of comment across the "blogosphere". A prominent cartoon scriptwriter vehemently disagreed with John's opinion that cartoons should be written by cartoonists, not scriptwriters. But when he was asked to name his favorite golden age cartoon writer, the scriptwriter was unable to come up with a single name... This isn't particularly surprising because THERE WERE NO CARTOON SCRIPTWRITERS prior to 1960.

Many people working in animation today have very little idea of how cartoons were made in the first half century of the medium. But Walt Disney was happy to tell you how he wrote his cartoons...


And it was the same at every other golden age animation studio...


Here's the Terry-Toons writers at work...


And a "script" for an MGM Tom & Jerry cartoon...


And a page from the "script" to Max Fleischer's Mr. Bug Goes To Town...


And this fragment of a storyboard from Warner Bros by my pick as the greatest cartoon writer of all time, Warren Foster. Check out the link below for a complete storyboard by Foster from the pilot episode of The Yogi Bear Show.


Story: The Greatest Cartoon Writer Of All Time March 27th, 2007

We've posted other great examples of visual storytelling this year as well...

• Alvin Show Pilot Board September 21st, 2007


• Clair Weeks' "Banyan Deer" Storyboard August 12th, 2007


• Ren & Stimpy "Big House Blues" Sequence 03 January 11th, 2007

After the first of the year, I'll have some more storyboards to post.

Go To Number 7 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

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
.

Stumble It!

Filmography: Happy Birthday Ruff And Reddy!

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.

Today was a Hanna Barbera day at the Archive!

Archive supporter, Jerry Beck stopped by with a copy of his new book to contribute to our library. If you haven't seen it yet, put it on your Christmas list... The Hanna-Barbera Treasury. It's the definitive book on the classic Hanna Barbera cartoons. Then, I spotted a posting by Keith Paynter to the Animation Show history forum announcing that today, December 14th, 2007, marks the fiftieth anniversary of Hanna-Barbera's landmark TV series, Ruff And Reddy.

For a history of this series and the talented artists who made it, see our earlier post... Ruff And Reddy In Pinky The Pint Sized Pachyderm


In honor of this auspicious date, here is a complete sequence of Ruff and Reddy cartoons from 1958!


Ruff and Reddy EPISODE ONE: Pinky The Pint Sized Pachyderm (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE TWO: Last Trip Of A Ghost Ship (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE THREE: The Irate Pirate (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE FOUR: Dynamite Fright (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE FIVE: Marooned In Typhoon Lagoon (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE SIX: Scarey Harry Safari (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE SEVEN: Jungle Jitters (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE EIGHT: Bungle In The Jungle (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE NINE: Miles Of Crocodiles (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE TEN: A Creep In The Deep (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.




Ruff and Reddy EPISODE ELEVEN: Hot Shot's Plot (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE TWELVE: The Gloom Of Doom (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





Ruff and Reddy EPISODE THIRTEEN: The Trapped Trap The Trapper (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)
PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be downloaded, duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.





If you found this post interesting, see also... Ruff And Reddy In Pinky The Pint Sized Pachyderm, John K on Flintstones Animators, The Greatest Cartoon Writer Of All Time, Carlo Vinci, John K Interviews Bill, Joe and Friz Part One and Part Two

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Pinups: Meet Doug Sneyd

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 more great pinup art.

Here's a gift that I've taken much too long to acknowledge... Last Summer, Archive supporter, Sean Worsham donated a great book of unpublished cartoons by Playboy cartoonist, Doug Sneyd. (Mr. Sneyd even autographed it for us!) It gives a fascinating glimpse at the thought process behind Sneyd's wonderful cartoons. Here are a few choice pages from the book...







I highly recommend this book. You can order an autographed copy for yourself at... www.DougSneyd.com.

I've spent the better part of this week scanning more mid 60s Playboys. Here's a gallery of Sneyd's work from that period...










As always, let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

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

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Cartooning: Byrnes' Complete Guide To Cartooning Part Seven

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 info on the history of cartooning told through the careers of great artists.

Magazine Illustration by Jan Balet (See Lief Peng's Flickr set for more images by Jan Balet.)

We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the second part of the section dealing with Magazine Cartooning... I'm afraid I don't have much information on these artists. If you can contribute a fact or two, please post them to the comments below.

MICHAEL BERRY
Michael Berry contributed pretty girl cartoons to Pictorial Review, Esquire, Liberty and The New Yorker.






JOHN RUGE
John Ruge's elegant girl drawings appeared in Colliers in the late 40s and Playboy in the early 50s. His comic about an Irish Setter named Clancy was also popular.




RALPH STEIN & STAN HUNT
Ralph Stein was the author of a collection of pinup girl art titled The Pinup From 1852 to Now. He wrote the Popeye newspaper comic in the 1950s, and was an avid classic car enthuiast. Stan Hunt was a regular contributor to The New Yorker. He attended the New York School of Art and apprenticed under Willard Mullin. He passed away in 2006 at the age of 77.




RICHARD SARGENT
Richard Sargent contributed images to Pictorial Review and The Saturday Evening Post.




JAN BELET
Jan Belet was a childrens book illustrator who also did artwork for several women's magazines.




RICHARD TAYLOR & FRANK OWEN
Richard Taylor was a cartoonist for The New Yorker and Playboy. Frank Owen was a cartoonist for The Saturday Evening Post He was the one who came up with the original story idea for the Disney's cartoon, Morris, the Midget Moose.



THE IMPORTANCE OF CARTOONS IN ADVERTISING
By Don Herold


A STUDY IN LAUGHS



ROY DOTY

Over the past half century, Roy Doty has been a cartoonist and illustrator with over 60 children's books to his credit. He was awarded a Reuben by the National Cartoonist Society in 2006. See RoyDoty.com to see what he's up to lately.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, and Part Six: Magazine Illustration

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullin on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: More Great George Lichty Grin And Bear It Comics

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 print cartoonists.


Here are more great comics by George Lichty donated by Archive supporter Christopher Lopez. Lichty was one of the comic page's longest working artists. His style changed little over the years. Compare the examples below from the late thirties to the Sunday pages from the 50s we posted a couple of months back. Lichty's distinctive free flowing lines were a staple of the funnies for over half a century. He may have drawn slouches, but I think you'll agree, as an artist, he was no slouch himself!



Here (thanks to Joseph Campana) is the entry on Lichty from Martin Sheridan's Comics And Their Creators...




1939 DAILY STRIPS






1937 SUNDAY PAGES















Thanks Christopher!

If you enjoyed this post, see Byrne's Complete Guide To Cartooning feature on George Lichty, Our First Post On George Lichty's Grin And Bear It, Virgil Partch's Here We Go Again, The Wild Wild Women and Man The Beast; Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; Cliff Sterrett's Polly & Her Pals Part One, Part Two; Part Three; Harrison Cady's Birds' Eye Views; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Filmography: Gandy and Sourpuss in Aladdin's Lamp

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.


Over at John Kricfalusi's blog, All Kinds of Stuff, John posted an appreciation Gandy Goose and Sourpuss- the cartoon comedy team that were one of the inspirations for Ren & Stimpy.

I've long thought that the Gandy Goose cartoons are underappreciated. They're funny, well animated and have a great deal of variety. The early ones, in particular "Doomsday", have lavish production values. "Aladdin's Lamp" is a typical wartime short featuring the duo, and it includes a great jitterbug dance sequence by Carlo Vinci. (Vinci's hand is evident throughout this short.) I'll be presenting the very best Gandy Goose cartoon at the upcoming Treasures of the ASIFA-Hollywood Animation Archive benefit next month. You'll have to come to the screening to find out which one it is!









Gandy Goose & Sourpuss in
Aladdin's Lamp (Terry/1943)
(Quicktime 7 / 14.5 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.

If you found this post to be interesting, you'll also want to check out our... Profile of Carlo Vinci, The Training Of A Golden Age Animator, Carlo Vinci Notes, The Terry-Toons Studio Tour, Tytla and Terry: Jeckyl & Hyde Cat, The Temperamental Lion 1940, Catnip Capers 1940, Jim Tyer's Barnyard Actor 1955 and Terrytoons Lobby Cards

Many thanks to John Kricfalusi for donating this great cartoon to our archive.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Voice Acting: Mel Blanc On Advertising

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.


There's one aspect of animation that I haven't dealt with much yet- Voice Acting. My own research in this area is pretty limited. I hope sometime in the future, a specialist in this field will contribute their expertise to the Archive to curate this important aspect of cartoon filmmaking.

But that doesn't mean that we don't have any interesting material dealing with voice acting at the ASIFA-Hollywood Animation Archive. Eric Graf stopped by with a wonderful treasure the other day... An LP record pressed by the production company of legendary voice actor, Mel Blanc. It's a recording of a speech by Blanc at the 1966 Annual Awards Luncheon of the Station Representatives Association. Titled "Mel Blanc Takes A Humorous Look At Commercials: Past, Present and Future (Who The Hell Is Mel Blanc?)", this record is a hilarious glimpse at both the advertising industry and a little known aspect of the career of one of the most famous voice actors of all time.

Who The Hell Is Mel Blanc?
(Mel Blanc Associates/1966)
(AAC Audio File / 32kbps-44.1kHz / Mono / 25 minutes / 6.25 mb)

Thanks for bringing this by Eric!

If you enjoyed this article, you'll also want to check out our... Profile of Carlo Vinci, John K on Flintstones Animators, Bugs Bunny In Coronet Magazine, Ward Kimball In Escapade Magazine, UPA Done Right, The Pencil Test of Art Babbitt's Best Scene, A Drawing Lesson From Walter Lantz, and Remembering Berny Wolf

Thanks
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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History: Clair Weeks- Pioneer of Indian Animation

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 info on the history of animation told through the careers of great animators.


Bambi II?
Today I am presenting an interesting bit of history from the collection of Disney animator, Clair Weeks along with an exciting update since we last featured this topic. Read on for details...

Weeks was born in India, the son of a Methodist missionary- a source of humor for his co-workers at Disney. (See caricature, right.) He spent 16 years at the Disney Studios, working on Snow White, Bambi and Peter Pan. In 1956, Weeks travelled to Bombay, India on the invitation of Information Films of India to set up and train the country's first animation studio as part of the American Technical Co-Operation Mission. What started as a one year project expanded into almost a decade of service abroad working for the US Agency for International Development. Weeks toured Southeast Asia and headed up a communitactions office in Katmandu, Nepal. He made films and audio-visual programs that aided in the social development and economic growth of third world countries.

I know very little about Weeks' work in India, but a scrapbook donated to the archive by his family provides some tantilizing clues. I contacted the chapter of ASIFA in India asking if they had any information on Weeks, and the Vice President of ASIFA-India, Prasad responded...

The studio Weeks helped to train some animators for was the Films Division of India (FDI). The stint of Clair's there apparently lasted for about 18 months, during which they made a film called The Banyan Deer. I spoke to Rammohan, who was one of the students in 1956, and is generally acknowledged as one of the father figures of Indian animation to get these details. Clair apparently also taught in the late sixties or early seventies at the National Institute of Design in Ahmedabad. One of the students at that point, Nina Sabnani heads the Animation Department there now.

Since this article was last posted, ASIFA-Hollywood has transferred a rare 16mm film showing Weeks at work at FDI in India. It's fascinating to see behind the scenes in the earliest days of Indian animation.


Cartoon Division of FDI (FDI/1956)
(Quicktime 7 / 13.8 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.

Here are some scans from Weeks' Indian scrapbook. If anyone has any information on the film or the people in the photos, let me know in the comments below and I will add it to this post.

THE BANYAN DEER (1957) STORYBOARD






TREND MAGAZINE ARTICLE




PRODUCTION PHOTOS

19 April, 1958: Sitting: S.L. Badami (Deputy Chief Producer), Ezra Mir (Chief Producer), Clair Weeks (Key Animator Instructor), Dr. B.V. Keskar (Union Minister for Information & Broadcasting), D.L. Kothari (Controller of Administration). Standing behind: G.K. Maharesh (Production Manager), G.K. Gokhale (Animator), S.M. Junnarkar (Editor), G.H. Saraiya (in dark pants, Director)





19 April, 1958: D.L. Kothari, Clair Weeks, Dr. B.V. Keskar, Ezra Mir. Behind: H.R. Doraiswamy (Camera Assistant), S.S. Varma (Animation Cameraman)





Many thanks to the family of Clair Weeks for sharing this important material with us, and thanks to Steve Stanchfield of Thunderbean Animation for transferring the film footage.

If you found this interesting, you'll want to check out our previous posts about material from the collection of Clair Weeks... Dispatch From Disney's Part One and Part Two, The Building Of The Disney Studios, Clair Weeks Goodbye Book, the 1938 Disney Artists Tryout Book and Clair Week's Animal Studies. Also, see... Walt Disney Goes To War, John Canemaker on Bill Tytla and Musical Timing Rediscovered.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Opinion: Bakshi Speaks To CGI Animators

In 1914, Max Fleischer invented the rotoscope as a time and labor saving way of producing animation. He soon came to realize that although the device was a great aid in effects and technical animation, it was a poor substitute for character animation.

In 1986, engineer Ernie Blood developed motion capture techniques as a time and labor saving way of producing animation. A decade and several mocap features later, many CGI animators are coming to the same realization that Max Fleischer and his staff had more than a half century ago.

The ASIFA-Hollywood Animation Archive documents the golden age of hand drawn animation, but it isn't intended as a resource exclusively for 2D animators. I encourage CGI artists to think of themselves as animators and build upon animation's rich history instead of reinventing it bit by bit. Animation is animation. Pencils and computers are only tools.

No one today has as much experience with hand drawn animation and rotoscoping than the legendary director, Ralph Bakshi (See related article Bakshi Phone Doodles). I've asked him to speak "animator to animator" to CGI artists and pass along his observations about the things that really count when it comes to animation. -Stephen Worth

BAKSHI SPEAKS TO CGI ANIMATORS

Frame to frame animation eventually came to a grinding end. I'm not sure which generation of young animators were at Disney redoing and relearning the tradition of making boring films and recreating cliched motion when it expired. Except for Jim Tyer, "Modern Animation" and Ralph Bakshi, animation was dying- while doing the same old thing. Big money and animators never really followed Bakshi, "Modern Animation" or Jim Tyer. They just rehashed its past.


(Read Chuck Jones' article on the failure of "Modern Animation")
UPA failed because it was nothing more than elitist designers trying to animate on museum walls. Content was unimportant to them, really. Matisse or Picasso were more important. Bakshi was hounded out of the business by controversy. And you'd be surprised how many animation directors at Terrytoons disliked Jim Tyer's work because it didn't look like Disney- or anything else for that matter. Terry kept him on because his weekly footage output was so large.


(See the gallery of images from Lord of the Rings on RalphBakshi.com)
Lord of the Rings was done in rotoscope animation because rotoscope made it physically possible to do it. You couldn't do Lord of the Rings in less than 25 years using traditional animation. Thirty years later- Wow! Along comes the computer... "We can do Disney story animation with another look and sell it back to audiences." Of course, I would have used computers and motion capture if they had been around during my day. But I turned to Tolkien to try to change the kinds of stories animation told. My city films were being thrown out of theaters.

So, what's the argument here? Unless hand-drawn animation finds new creative story approaches and new creative drawn motion exaggerations, it will look as it always looked at the end- faded and drawn. There'll be no great interest for it either. Computer animation has the exact same problem. Computer animation will eventually grow old, just like hand-drawn animation, unless something new happens. It will fall into manneristic boredom if it continues to endlessly redo what's already been done before. The success and the money will always follow the creative artists who take either of these two mediums and do something different with it.

A lot of people remember and love Jim Tyer's animation today because he really did something different with hand-drawn animation. He didn't follow the crowd.


(See Jim Tyer's work: Terrytoons: Barnyard Actor / Funny Animal Comics Part One and Part Two

Ralph Bakshi 2007


At this year's San Diego Comic-Con, I had the honor of hosting an interview with Ralph Bakshi. He had some important things to say to young animators. Watch Ralph take my question and hit it out of the park...



Many thanks to the Bakshi family for their helpfulness and generosity, and to our fantastic videographer, JD Mata.

Feel free to embed the YouTube on your own website. Spread the word! Educators may download a higher resolution copy of this video to burn to DVD for viewing in their classroom.

Read the comments about this video at YouTube, Cartoon Brew and Weirdo's blog on Newgrounds.

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.
.

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Illustration: Coronet Magazine 1945

This post is just the tip of the iceberg... see The Top Ten Reasons To Support The A-HAA for more jaw dropping examples of classic illustration.



Archive supporter, Rich Borowy stopped by to digitize some classic Stan Freberg radio shows for the archive database yesterday. Under his arm was a box of old Coronet and Omnibook magazines. Rich said that he was given the box at a garage sale that was closing down. I've never looked at these particular magazines, but they have wonderful illustrations and features. Here are highlights from the December, 1945 issue. Check it out. There's a big surprise at the end. Thanks for bringing these in, Rich!

Each issue opens with an inspirational message and illustration. This one is by illustrator, Vera Bock. Many issues contain the work of Arthur Szyk, whose book The New Order we featured last year. I'll be doing a whole post of Szyk illustrations from Coronet soon.


Next up is a retelling of "The Night Before Christmas" by Golden Book illustrator, Sheilah Beckett. Will Finn recently posted about her book on Gilbert & Sullivan Operettas. These pages strongly resemble the back of Little Golden Books. Do you think Sheilah Beckett designed that?




Here's a feature on the artists who created the Famous Artists Course... Stevan Dohanos, along with his illustrator friends Albert Dorne, Ben Stahl, Hardie Gramatky, Fred Ludekens and Dean Cornwall donated their services to decorate casts in the Halloran Army Hospital in New York.



And here's a feature on exotic superstitions and religious beliefs by Stevan Dohanos...



Here's a real surprise- The autobiography of Bugs Bunny! "A Hare Grows In Manhattan"...









If you enjoyed this post, check out... Little Verses Part One, Part Two and Part Three, Baby's House, Arthur Szyk's The New Order and Artzybasheff's Neurotica, Machinalia and Diablerie.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: Virgil Partch's Wild, Wild Women Part Three

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 print cartoonists.



Today, we continue with Virgil "Vip" Partch's greatest collection of cartoons, The Wild, Wild Women. Notice how clear the staging is, the beauty of the line and the strength of the posing and expressions.
















For more examples of Virgil Partch's genius, see Virgil Partch's Wild, Wild Women Part One and Part Two, Here We Go Again and Man The Beast. Also see... George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
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Comics: Virgil Partch's Wild, Wild Women Part Two

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 print cartoonists.



Today, we continue with Virgil "Vip" Partch's greatest collection of cartoons, The Wild, Wild Women. If you missed any of the articles linked below, make sure you check them out. They're all packed with great cartooning.

















For more examples of Virgil Partch's genius, see Virgil Partch's Wild, Wild Women Part One, Here We Go Again and Man The Beast. Also see... George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: George Lichty Grin And Bear It Orgy!

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 print cartoonists.


Archive supporter Christopher Lopez saw our feature on George Lichty a month or two back and decided to donate a big stack of vintage Grin And Bear It dalies and Sunday pages. I grew up with George Lichty's cartoons in the funnies every day, and as a kid, I didn't give much thought to them. But seeing his work from a wide range of years is a revelation. At first glance, Lichty's drawings appear sloppy, with formulaic oafish characters with their jaws agape. But look closer... His compositional sense and skill at putting across a visual gag is remarkable. There's nothing sloppy about his use of perspective either. His lines seem to be alive!


Along with the batch of comics, Christopher included an article on Lichty from 1952. It mentions a feature in the Saturday Evening Post titled "Does Lichty Really Hate People" (does anyone out there have a copy of that article we could scan?) and offers some choice tidbits on Lichty's working habits and lifestyle...

He works best in a crowded, noisy newspaper office. His desk is heaped so high with old drawings, discarded captions, letters he has forgotten to mail, cigarette stubs and fan mail that ever fourth day the janitors are ordered to dig through the debris just to make sure that Lichty is still alive and breathing.

Lichty has a few happy passtimes... He likes to putter around the house. When in doubt he lays little brick walls that wind aimlessly around the Lichty garden. He also plays the bass drum, sometimes at home, but more often as a member of the Guckenheimer Sour Kraut Band, a unique musical institution that he says is perpetuating a dying art form. He is not certain what the art form is, but anyway, he admits it is dying.

Now if that isn't a great description of the life of a cartoonist, I don't know what is!

Lichty was one of the comic page's longest working artists. His style changed little over the years. Compare the examples below from the late thirties to the Sunday pages from the 50s. Lichty's distinctive free flowing lines were a staple of the funnies for over half a century. He may have drawn slouches, but I think you'll agree, as an artist, he was no slouch himself!



Here (thanks to Joseph Campana) is the entry on Lichty from Martin Sheridan's Comics And Their Creators...





1939 DAILY STRIPS






1937 SUNDAY PAGES
















MID 1940s DAILY STRIPS











1950s SUNDAY PAGES











Thanks Christopher!

Check out the fascinating link between Coal Black and de Sebben Dwarfs and George Lichty in John K's All Kinds of Stuff.

If you enjoyed this post, see Virgil Partch's Here We Go Again, The Wild Wild Women and Man The Beast. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

6.3.09
.

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Cartooning: Byrnes' Complete Guide To Cartooning Part Six

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 info on the history of animation told through the careers of great animators.


Thanks to Clarke Snyder for this great Hurst ad.
We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the first part of the section dealing with...

MAGAZINE CARTOONING
Introduction by Charles D. Rice


PERRY BARLOW
Perry Barlow worked along side a star-studded group of cartoonists at The New Yorker which included, among others, James Thurber, Peter Arno, Gardner Rea, Charles Addams, Whitney Darrow Jr, Sam Cobean and William Steig. From its inception, The New Yorker was, as its founding editor Harold Ross described it, "a reflection in the word and picture of metropolitan life". The images were equal with the words, and this magazine contributed greatly to the development of cartooning. Here, Barlow discusses his ideating process for a Halloween cover.




WILLIAM VON RIEGEN
Von Riegen was featured in our previous post from this book, Part Four: Sketching. His gesture drawings were greatly admired.



EARL OLIVER HURST

Earl Oliver Hurst has been profiled extensively at Shane Glines' excellent Cartoon Retro site. Hurst was primarily a "pretty girl" cartoonist whose work appeared in Colliers, True and American Weekly. His ads for Jantzen are particularly popular among current cartoonists. If you would like to see more, there is a great book on Hurst at Amazon... The Art Of Earl Oliver Hurst







KURT STOESSEL
H. Kurt Stoessel was born in 1909 in Germany, and studied at the Art Institute of Chicago. He was an illustrator and art director for several national magazines including The Atlantic. He lived and worked in Boulder, Colorado his entire career, and passed away on this day in 1984.






FRED COOPER
You may not know the name of Fred Cooper but you certainly have seen his work. He was a letterer, poster designer, illustrator, cartoonist, writer and teacher. Leslie Cabarga describes him as the original "clip art" artist- his "big head" cartoon characters were seen in dozens of magazines of the teens and twenties, and continue to be in use to this day. For more on this influential cartoonist, see Allan Holtz's tribute in Strippers, and Cabarga's book The Lettering and Graphic Design of F.G. Cooper



GLUYAS WILLIAMS
We mentioned Gluyas Williams in an earlier post on Collier's Magazines From the 1930s. Williams was one of the most prolific and influential cartoonists of the 1920s. His work appeared in The New Yorker, Colliers and Life. Robert Benchley wrote, "I believe that Williams' drawings will be preserved for expert contemplation both as data on the manners and customs of our day, and as graceful and important examples of its art." For more great work by cartoonist Gluyas Williams, see David King's gluyaswilliams.com



ROBERT OSBORN
Robert Osborn was a cartoonist whose style influenced the UPA artists greatly. He worked with John Hubley on the film, Flat Hatting, which is available for download at Cartoon Brew Films.



BARTOLI
Bartoli's ink drawings appeared on the covers of quite a few issues of Holiday magazine in the late 40s and 50s. I haven't been able to find out much information about him. Perhaps someone out there knows and will post some biographic info on him to the comments below.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, and Part Five: Sketching

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

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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Comics: Virgil Partch's Wild, Wild Women

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 print cartoonists.



Virgil "Vip" Partch is one of the greatest cartoonists who ever lived, but the simplicity and directness of his style belie its sophistication. Born in 1916, Partch studied under Rico LeBrun at Choiuinard Art Institute, before joining the Disney studios as a story man. His influence can be seen clearly in the Donald Duck cartoon "Duck Pimples". Partch worked at Disney for four years, until his stay there was cut short by the strike in 1941.



Out of work, Partch submitted some one panel cartoons to Colliers, and they were published. This began a fruitful career as a magazine cartoonist. Throughout the 50s, he published small collections of his cartoons, grouped by themes. "Bottle Fatigue" dealt with the spell of alcohol, "Here We Go Again" was a collection of cartoons dealing with Army life, and "Wild, Wild Women" and "Man The Beast" dealt with the battle between the sexes. Partch's cartoons are absurd, visually delightful and wicked. Most of all, they are unique.



As I said before, Vip's style is so streamlined and simple, it's easy to overlook the depth of thought beneath the surface of his cartoons. His compositions always read beautifully with clear silhouettes, appealing shapes and interesting negative spaces. The lines define a solid form and simple visual clues indicate rock-solid perspective... His drawings never seem flat, no matter how stylized they are. There's a wide variety of ways of depicting different facial expressions and expressive personality that is obviously observed from life. It doesn't get better than this!



Partch's greatest book was "Wild, Wild Women". Check out these beautiful drawings. Here's yet another example of stylized cartooning done right.















For more examples of Virgil Partch's genius, see Here We Go Again and Man The Beast. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Pinups: More Of Kurtzman and Elder's Little Annie Fanny

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 more great pinup art.



Little Annie Fanny by Harvey Kurtzman and Will Elder was a mainstay of Playboy magazine for decades. From 1962 to 1988, they produced 100 episodes, assisted by guest artists like Jack Davis, Russ Heath, and Al Jaffee. This crack team also worked for Mad magazine and Hugh Hefner's short-lived humor magazine, Trump.



Here are three great stories from the late 60s. In particular, pay attention to Elder's hilarious "micro gags" in the backgrounds of the third story. They're even funnier than the Bond parody playing out in the foreground!















As always, let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

If you enjoyed this post, check out our first article on Kurtzman & Elder's Little Annie Fanny. For more info on the great Playboy cartoonists, see these posts... Early Erich Sokol Cartoons and More Sokol, Jack Cole And Other Great 50s Playboy Cartoonists, Eldon Dedini Part One and Part Two (video interview!), Doug Sneyd and Phil Interlandi and Early Interlandi Playboy Cartoons.

Check out these great "Little Annie Fanny" collections at Amazon.com!

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Media: Milt Gross Sunday Pages Part Four

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 print cartoonists.



Do you love Milt Gross yet?



If you've been following this blog
for a while, you know how great he is!



Here's another batch of prime Gross...






If you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read the whole page... YOU DON'T KNOW WHAT YOU'RE MISSING!

For more Milt Gross Sunday pages, see... Milt Gross Sunday Pages Part One, Part Two and Part Three. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Rube Goldberg's Side Show; Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Crisafulli for sharing this amazing stuff with us!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Filmography: Ruff and Reddy and Pinky, the Pint-Sized Pachyderm

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.


In 1957, MGM shut down their animation department, but Bill Hanna and Joe Barbera were prepared. They immediately went into production on a low budget cartoon series designed for television. It was the seed that went on to grow into a television empire, yet the series hasn't been distributed in years and few kids today know Ruff and Reddy the way they know other Hanna-Barbera creations like Yogi Bear and Fred Flintstone.


Hanna and Barbera knew that they had to make Ruff and Reddy quickly and cheaply. Within the space of a few months, their first airdate on NBC loomed. The tight budget and quick turnaround didn't allow for much animation. The focus was put on the voices, layout and background styling. They designed the episodes as sequential cliffhangers- similar to the serials that played movie theaters in the thirties and forties. (The basic structure of the series was the same as the earlier TV cartoon series, Crusader Rabbit.)


The cartoons were designed to plug into a live action puppet show hosted by Jimmy Blaine, known for his characters Rubarb the Parrot and Jose the Toucan. Ruff and Reddy ended production in 1960. It continued in reruns on NBC in the Captain Bob Cottle show until 1964. After that, it was syndicated to local kiddie shows around the country.


The two key voice actors who worked on Ruff and Reddy went on to become the core cast members of the Hanna Barbera team throughout the coming years... Don Messick and Daws Butler.


Daws Butler was well established as a voice actor by the time Hanna and Barbera formed their TV studio. He had been an integral part of Bob Clampett's Time For Beany, as well as providing voices for many Lantz and MGM cartoons. Butler was skilled at ad libbing and vocal impressions, which led to an association with Stan Freberg on Freberg's popular comedy records like "St. George and the Dragon-Net".


Through the late forties and early fifties, Don Messick was a ventriloquist. In the late fifties, Tex Avery was looking for a voice for Droopy to replace Bill Thompson, who had left MGM to work for Disney. Daws Butler, who had been recording for Avery for some time, suggested his friend Messick for the job. As performers, Messick and Butler were perfectly matched. They became a team in a long string of cartoons produced by Hanna-Barbera... Boo Boo and Yogi, Pixie and Dixie, etc.


As a cartoon, Ruff and Reddy really doesn't stand up too well. The stories are directionless, the animation is almost non-existent and the cartoons are excessively talky with way too much narration. They really aren't a very good model for animators today to follow... except in one respect.


Ruff and Reddy had remarkable design, layout and background styling. It set the standard for the great Hanna Barbera series that followed. I don't know the names of the entire crew that worked on these early cartoons, but a few key artists stand out


No one is more responsible for the look of the early Hanna-Barbera series than Ed Benedict. Benedict began his career at Disney and Lantz in the 1930s. In 1952, he joined Tex Avery at MGM to design the modernist cartoons, Field And Scream, The First Bad Man, Deputy Droopy and Cellbound. Benedict was one of the first artists hired by Bill Hanna and Joe Barbera to work on their television cartoons. He was the principle designer on Ruff and Reddy, Huckleberry Hound, Yogi Bear, Quick Draw McGraw and The Flintstones. Ed passed away last year. Read John K's tribute on his blog, "All Kinds of Stuff".


Dick Bickenbach was a skilled draftsman with a strong sense of composition. He animated at Lantz, Warner Bros and MGM before joining Bill and Joe at their TV studio. Because of his tight construction and clean line, his drawings were often used as models. In addition to design and layout duties on The Flintstones and Yogi Bear, he drew the comic book adaptations as well.


Art Lozzi was one of H-B's main background painters. His use of color and texture in this particular cartoon is remarkable. John K has been interviewing Lozzi on his blog, "All Kinds of Stuff" See the following posts... Good Color Without A Lot of Money, Art Lozzi's Technique on Skooter Looter and Art Lozzi on the Early Days of H-B


Carlo Vinci doesn't have as much to do on Ruff and Reddy as he did on later H-B series like Huckleberry Hound and The Flintstones, but his hand is still evident in the animation. Vinci worked at Terry-Toons in New York for twenty years before moving west at the request of Joe Barbera. He was one of the first artists hired to work for the new TV studio, and he remained with H-B for twenty years.



If you found this post interesting, see also... John K on Flintstones Animators, The Greatest Cartoon Writer Of All Time, Carlo Vinci, John K Interviews Bill, Joe and Friz Part One and Part Two

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Pinups: Early Sokol Playboy Cartoons

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 more great pinup art.



Over a year ago, we began our series of posts on Playboy cartoonists with a feature highlighting Erich Sokol. Sokol was arguably the most gifted artist who ever worked for the magazine, with a keen eye for all of the elements of good drawing- composition, clear silhouettes, original color harmonies, interesting staging and a keen sense of light and shade. There's a lot to be learned from these masterful cartoons. His style evolved as time went by, and his images became more and more beautiful. This group of cartoons is arranged in a more or less chronological manner. Compare the first one from the mid-1950s to the last one from a decade later, and you'll see how much he progressed...













Let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

For more Playboy cartoons, see these posts... Erich Sokol, Jack Cole And Other Great 50s Playboy Cartoonists, Eldon Dedini Part One and Part Two (video interview!), Kurtzman & Elder's Little Annie Fanny, Doug Sneyd and Phil Interlandi and Early Interlandi Playboy Cartoons.

If you're a fan of Playboy artists like Cole, Dedini, Wilson and Sokol, you will want to get this great collection of cartoons, Playboy: 50 Years- The Cartoons. Check it out!

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Five

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 info on the history of animation told through the careers of great animators.



We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the section on the fundamental skill that at is the root of all pictorial art...

SKETCHING
Introduction by Gene Byrnes


WILLIAM VON RIEGEN
"William Von Riegen, with his studies of figure drawing, claims that this type of exercise gives him a looseness and freedom of line that he couldn't get in any other way. Von Riegen is an outstandingly talented young man in the field- an especially fine artist." -Gene Byrnes






FINE ARTISTS
In this section, Byrnes does a fine job of clearly showing the link between fine art and cartooning.




HEINRICH KLEY
"Heinrich Kley as a pen and ink artist is in a class by himself. I know of nobody who ever had the freedom of line with a pen that could compare with Kley's. Each of his drawings is a little masterpiece." -Gene Byrnes







ROGER VERNAM
"Roger Vernam's animals are good examples of on the spot sketching. In his book published by Harper, entitled Drawing People For Fun, he sketches people from all walks of life." -Gene Byrnes



GORDON GRANT
"Gordon Grant, the world renowned marine artist, whose work appears in dozens of art museums, works in oil, watercolor, and pen and ink. Whenever he has any spare time, he uses it to sketch. His sketches on the following pages were taken from his private sketchbooks and were done on a trip through Brittany. They were accomplished with a fountain pen and no preliminary pencil work." -Gene Byrnes






HOWARD BRODIE
"Howard Brodie's portrait sketches were done in Germany when he was an artist correspondent with the United States Army. His drawings of the G,I. the battle scenes, and the action that he portrayed while he was in the Army have made him famous." -Gene Byrnes



FURTHER READING
In his blog, Temple of the Seven Camels, Mark Kennedy has been offering sage advice to beginning animators about the value of carrying a sketchbook with you wherever you go. Make sure to read the whole series...

Carrying A Sketchbook Part One, Part Two, Part Three and Part Four


...And don't miss his posts on Ronald Searle's Secret Sketchbook Part One and Part Two; and Ken Anderson's Africa Sketchbook

If you don't have The Drawings of Heinrich Kley in your library, get over to Amazon right away and order it. As Gene Byrnes says, no cartoonist should be without this book!

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, and Part Four: Editorial Cartoons & Comic Books

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Pinups: Early Interlandi Playboy Cartoons

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 more great pinup art.


The internet never ceases to amaze me... I was working on this post, featuring early examples of Playboy cartoons by Phil Interlandi, when I took a break to check my email... A message had just come in from Interlandi's daughter Carla, filled with great info for our Cartoon Hall of Fame entry. I'm going to let her tell you about her father...

A BRIEF HISTORY OF PHIL INTERLANDI
By Carla Interlandi Armstrong
Phil Interlandi was a veteran freelance magazine cartoonist whose work appeared in national magazines ranging from Look to Better Homes & Gardens but most notably in Playboy, where he was a mainstay for decades. A longtime resident of Laguna Beach, CA, Interlandi sold his first cartoon to Playboy in 1955. "He had an acerbic wit." said Michelle Urry, Playboy's cartoon editor. "He just ran roughshod over all the sacred cows. He didn't care about the taboos."



The Chicago-born son of Sicilian immigrants, Interlandi showed artistic ability at an early age, as did his identical twin, Frank, who later became a syndicated political cartoonist for the Los Angeles Times. During World War II, Interlandi joined the Army at 17. He drew cartoons for The Yank, the Army newspaper, and was later a prisoner of war in Germany, a subject he didn't like to talk about according to his daughter, Liza Stewart.


After the war, Interlandi and his twin brother studied at the Chicago Academy of Fine Arts. Interlandi worked a number of years in advertising before becoming a full-time freelance magazine cartoonist. A year after he moved to Laguna Beach in 1952, his twin followed. The inseparable brothers were part of Laguna's colorful cadre of cartoonists that grew to include Ed Nofziger, John Dempsey, Don Tobin, Roger Armstrong, Dick Shaw, Virgil Partch and Dick Oldden.



Following Phil Interlandi's lead, the cartoonists began a midday ritual of taking a break from their drawing boards and meeting in the bar at the White House restaurant on Coast Highway. "That was the first bar I walked into in Laguna," Interlandi explained in 1982, "and it became a habit."



Interlandi illustrated a number of books, including Art Linkletter's Kids Say the Darndest Things, and I Wish I'd Said That, in addition to Dick Van Dyke's Faith, Hope and Hilarity: The Child's Eye View of Religion and Ed McMahon's The Barside Companion.



He was really just a marvelous artist," said New Yorker cartoonist Sam Gross, who had known Interlandi for 30 years. "He also really knew how to draw good looking girls and yet make the cartoon funny."



Phil Interlandi passed away in 2002 at the age of 78.



Thanks to Carla Interlandi Armstrong for the insights about her father's life and career.

For more Playboy cartoons, see these posts... Erich Sokol, Jack Cole And Other Great 50s Playboy Cartoonists, Eldon Dedini Part One and Part Two (video interview!), Kurtzman & Elder's Little Annie Fanny, Doug Sneyd and Phil Interlandi.

If you're a fan of Playboy artists like Cole, Dedini, Wilson and Sokol, you will want to get this great collection of cartoons, Playboy: 50 Years- The Cartoons. Check it out!

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

3.26.09
.

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Cartooning: Byrnes' Complete Guide To Cartooning Part Four

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 info on the history of animation told through the careers of great animators.



EDITORIAL CARTOONS AND COMIC BOOKS
We continue with the section on editorial cartoons and comic books from Gene Byrnes' Complete Guide To Cartooning. This installment features a gallery of Pulitzer Prize winning editorial cartoons, features on C. D. Batchelor and Bill Crawford, and a cursory look at how comic books were edited.

EDITORIAL CARTOONING
By C. D. Batchelor
Clarence Daniel Batchelor started as a staff cartoonist at the Kansas City Star. He worked as a freelance illustrator for a time before joining the New York Daily News in 1931. He worked there for 38 years as an editorial cartoonist, He won the Pulitzer Prize in 1937 for the accompanying cartoon of a young man labelled "Any European Youth" being propositioned by a skull faced whore representing war, captioned... "Come on in, I'll treat you right! I used to know your Daddy." (Click on the image to see at a larger size.)








WILLIAM CRAWFORD

As I went to Google to research this blurb on editorial cartoonist Bill Crawford, the first listing I found was a short article in today's New York Times. Sadly, Crawford passed away yesterday of pneumonia at age 68.

Crawford was a master of the medium. He was awarded the National Cartoonists Society awards for best editorial cartoon of 1956, 1957, 1958 and 1966; he was awarded the Silver T-Square Award in 1977; and he served as president of the organization in 1960. His cartoons first appeared in the Newark News, and later were syndicated to over 700 newspapers around the country. He is survived by his wife, Claire, as well as a son and daughter.




COMICS MAGAZINES
By Whitney Ellsworth
Whitney Ellsworth started out as an assistant artist at King Features, working on strips like Dumb Dora and Tilly the Toiler. He was chief editor at DC Comics during the golden age of Superman, Batman, The Spectre, and The Green Arrow- but Superman was the series he was most closely involved in. Ellsworth wrote many of the story outlines for the comic books, and in the early 50s, he wrote the pilot episode of the Superman TV serial, Superman Meets The Mole Men. He retired in 1970.





It's interesting to compare the editorial script to the finished artwork provided here. The only thing the artist used was the basic situations, a few details and the dialogue. The staging of the panels and the pacing of the action from panel to panel had to be completely reworked to function visually. It's surprising that Byrnes gives this section on comic books such short shrift. Ellsworth focuses on the technical and editorial aspects of the comic book business, and barely mentions the artists who actually create them. Perhaps if Byrnes had gotten Joe Shuster, Bob Kane or Jack Kirby to write this section, it would have been a different story.

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Pinups: Jack Cole And More Great 50s Playboy Cartoonists

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 more great pinup art.


Today, we continue our series of posts on the great cartoonists who worked for Playboy magazine over the years. Today, we feature artists from the late 1950s. Starting with...

JACK COLE
More than any other artist who worked at Playboy, Jack Cole was most responsible for establishing the tone and style of the single panel full page cartoons that appeared in its pages His watercolor technique was loose and free, but the overall impression was brilliantly planned out and remarkably expressive.

Born in 1914 in New Castle Pennsylvania, Cole was a self-taught artist. At age 17, he bicycled across the country to Los Angeles and sold the story of his odyssey, along with his own illustrations, to Boy's Life. After graduating from High School, he moved to New York and took up work in the comic book business. He moved up through the ranks at Harry A. Chesler, Centaur Publications and Lev Gleeson on a variety of crime and action comics. In 1940, he assisted WIll Eisner on The Spirit, ghosting the strip when Eisner was drafted during the War. He is best known though, as the creator of the Marvel superhero, Plastic Man.

In 1954, Cole began selling one panel "girlie" cartoons to various magazines, and his work caught the attention of the editors of the fledgling publication, Playboy. For the next few years, Cole's cartoons appeared in every issue, until his untimely suicide in 1958. Here are a few of Cole's beautiful watercolors from the late 1950s...







JACK DAVIS
When you think of Jack Davis, you probably think of his work with Harvey Kurtzman at Mad magazine, his covers for TV Guide, his advertising work and movie posters, and perhaps the Little Annie Fanny comics he painted for Kurtzman at Playboy. But you don't normally think of him as a one-panel cartoonist. Here's a rare example...



CHARLES W. MILLER
I don't have any info on Charles W. Miller. His tighter style is closer to the illustrators who worked for Colliers in the late 1940s than it is the washy, stylized work of Dedini, Sokol or Cole. But he was obviously a very accomplished artist- check out the sophisticated lighting in the second example for proof of that. If you know details of his biography, please post to the comments below.




AL STINE
Al Stine is still living, painting and teaching in South Carolina. In fact, he recently started doing editorial cartoons for the Anderson South Carolina Independent Mail. His masterful transparent watercolor technique really sets him apart. If you enjoy his work, drop him an email through his website- AlStine.com. It would be nice if someone out there would interview him and collect the info for our Biopedia Page.



Let me know in the comments if you'd like to see more about the great cartoonists of Playboy.

For more Playboy cartoons, see these posts... Eldon Dedini Part One and Part Two (video interview!), Erich Sokol, Kurtzman & Elder's Little Annie Fanny, Doug Sneyd and Phil Interlandi.

If you're a fan of Playboy artists like Cole, Dedini, Wilson and Sokol, you will want to get this great collection of cartoons, Playboy: 50 Years- The Cartoons. Check it out!

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

3.5.09
.

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Cartooning: Byrnes' Complete Guide To Cartooning Part Three

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 info on the history of animation told through the careers of great animators.



SINGLE PANEL COMICS AND SPORTS CARTOONISTS

We continue with the section on two column panel and sports cartoonists from Gene Byrnes' Complete Guide To Cartooning (1950). Here are step by step descriptions of the creation of panel cartoons by George Clark and Lichty; as well as an article on Robert L. Ripley and features on sports cartoonists Pap, Howard Brodie and the great Willard Mullen.

TWO COLUMN PANELS
Two column panel cartoons are a staple of newspaper comics today, even though the width of the standard column has shrunk. As the size decreased, artists were forced to reduce detail. Daily strips are so small now, it's hard to do anything wider than a medium closeup in every panel. The two column panel cartoon has become the last bastion of cartoons with any kind of detail at all. Here, Gene Byrnes covers a few of the most popular single panel comics from the late 40s.




GEORGE CLARK
The Neighbors
George Clark was born in Oklahoma. He began drawing at a very young age, and by 16 years old, his cartoons were appearing in the Daily Oklahoman. His first syndicated cartoon was "Side Glances", and in 1939, he created the one panel comic he is best known for, "The Neighbors". Clark's gags were inspired by quiet observation of people in soda fountains and railroad stations. He would photograph situations, street scenes and expressions to incorporate into his drawings. The family in the comic was loosely based on his own wife and children.

He would create all of his comics for a week in one marathon session. He wrote, "It takes me at least six hours to warm up. I sit there trying to work and wondering what I've been doing all these years that it should still come so hard to me." When the ideas started flowing, he would work nonstop for up to 12 hours straight to complete the six cartoons for the week. He commented on the grueling process by saying, "When I'm trying to think of ideas for cartoons and they won't come, I think it would be wonderful to paint landscapes, with no gags in them."




LICHTY
Grin & Bear It


George Lichty was one of the most famous and highly paid one panel cartoonists in the newspapers. He created the cartoon, "Grin And Bear It" in 1932, and it ran every day for many decades. When asked to what he attributed the popularity of his wonderful lummoxes with names like "Bascomb Belchmore" and "Senator Snort", he replied, "From little acorns mighty oafs grow."




LARGE PANEL COMICS
When newspaper comics were at their zenith, whole pages were sometimes devoted to a single comic. Other comics would be half pages. Interspersed throughout the comics pages were quarter and third page single panels that depicted scenes and panoramas filled with gags. Today, each comic is so small, it's lucky if it can put across a single gag. A lot of the richness and depth of view has been lost.




ROBERT L. RIPLEY
Believe It Or Not
Robert Ripley was unique among cartoonists, because he truly lived his strip. Ripley travelled the world in search of the odd and unusual, which he featured in his daily newspaper comic. He passed away in 1949 at 56 years of age.



SPORTS CARTOONISTS
PAP
Thomas "Pap" Paprocki was referred to as the "Rembrandt of the sports pages". Born in 1902, he began his artistic endeavors at age nine, when he took painting lessons from an artist near his home in New York. A gifted athelete, it was natural that he would gravitate to being a sports cartoonist. In 1932, he began working for the Associated Press, where his column and drawings ran for over three decades. Check out the meticulous planning he put into his work.





HOWARD BRODIE
Howard Brodie worked as a sports cartoonist for the San Francisco Chronicle. During WWII, he became a combat correspondent, creating illustrations of GIs in action that made a huge impact on readers stateside. He was a decorated veteran, and also served as a combat artist in Korea and Viet Nam. In the 50s and 60s became a courtroom artist, famous for his ability to capture the drama and detail of the proceedings in his quick powerful sketches.




WILLARD MULLIN

Willard Mullin has been featured in this blog before in reference to his work on the Famous Artists Cartooning Course. He grew up in Los Angeles, but like most newspaper cartoonists of his era, he moved to New York in 1934. He worked for the New York World Telegram for over thirty years, where he created the iconic caricature of the Brooklyn Dodgers, the "Brooklyn Bum". Mullin eventually became a respected illustrator for Time, Life, and The Saturday Evening Post. Although sports cartooning is pretty much a dead artform, Mullin's work is timeless and will live on long after the game has ended.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics Part Two: How To Get Ideas / Studies of Comic Strips

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: Milton Caniff's Steve Canyon Dailies

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.


Today, we have an exciting post for you... original artwork by Milton Caniff for the Steve Canyon newspaper strip.


Archive supporter, John Ellis is working with the family of Milton Caniff on a DVD release of the live action Steve Canyon television series, which debuted in September of 1958 on NBC. In searching through the family's collection of memorabilia, John stumbled across a batch of original inks of daily and Sunday pages that the family didn't realize that they had. The estate of Milton Caniff has generously allowed the ASIFA-Hollywood Animation Archive to digitize the material for inclusion in our cartoon database.


John Ellis has been doing considerable research into Caniff and Steve Canyon. I asked him to write a few words about Caniff...

Milton Caniff has been referred to as "The Rembrandt of the Comic Strip", and oft by himself as "an Armchair Marco Polo", but in fact this whirlwind of a comic strip innovator and writer was essentially a sincerely nice man who loved to draw. Yes this gentleman born in Hillsboro Ohio in 1907 created and drew Terry and The Pirates from 1934 to 1946, which absolutely set the standard for the adventure comic strip. True, he raised the bar with Steve Canyon, which unlike Terry, he owned lock stock and barrel from the first daily strip in January 1947 through to June 1988, the final installment published shortly after his death. Absolutely he worked rain or shine, seven days/strips a week for 54 years, even from his hospital bed, the deadlines never ended.

Milton Caniff in his studio ca. 1947
(click for a larger view)

But beyond the art and dedication, what is true is that I've never heard an unkind word in his regard. His nephew Harry Guyton can't even remember Milton ever losing his temper. My friend David Haft, who produced the NBC Steve Canyon primetime TV series in 1958, made a comment as we watched Milton on a vintage filmclip promoting the series recently. He said "Lovely, lovely man". Happy 100th birthday Milton.

John Ellis
Hollywood, 2007

This is the first of several posts featuring the Caniff Collection. Make sure to click on the images to see high resolution versions. Caniff's amazing adventure strip from the late 40s has never looked better!
















If you enjoyed this post, see... Byrnes' Complete Guide To Cartooning Part One- Meet The Men Behind the Comics and Part Two- Studying Comic Strips, Dan Gordon's Superkatt, Rube Goldberg's Side Show and Alex Toth Model Sheets

STEVE CANYON TV SHOW

For info on the Steve Canyon TV show DVD, 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.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

"Steve Canyon" is a Registered Trademark of the Milton Caniff Estate.
© 2007 Milton Caniff Estate. All rights reserved. Used by permission.

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Story: The Greatest Cartoon Writer Of All Time

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.



The other day, a discussion on cartoon writing erupted in response to recent posts on the subject in John Kricfalusi's blog. One of John's main points is that the golden age cartoons that we all regard as the greatest cartoons ever created were written by cartoonists as storyboards, not written in words as scripts. In support of his argument, he presented video clips of Walt Disney and Walter Lantz discussing the qualifications of the people who wrote their cartoons. (See also, Page 5 of the 1938 Disney Training Manual).

The scriptwriters dismissed John K's points as old fashioned and irrelevant to the current scene, while expressing respect of a general sort for the classic cartoons of the past. They claimed that it was just a matter of John's personal tastes, not a reflection on the effectiveness of the process itself. They never seemed to address the fact that prior to 1960 stories for cartoons weren't created and developed with words in script form- they were drawn. In listening to these arguments by current cartoon scriptwriters, I began to wonder how much they really knew about the process used to make the classic cartoons they expressed respect for. I posed a simple question...

Who was your favorite golden age cartoon writer?

It's a fair question- one that I've heard animators discuss and argue about on many occasions. Surely current cartoon writers would have golden age writer heros, just like animators study golden age animators like Milt Kahl or Grim Natwick...


Disney story man, Joe Rinaldi
But none of the scriptwriters participating in the discussion could name a single golden age cartoon writer. The only names they could mention were other current scriptwriters, or novelists, journalists and live action screenwriters who worked in totally different media. They had no idea who pioneered their profession and the process these people used to create cartoons for nearly half a century. To be fair, this sort of ignorance of the history of our craft isn't just limited to writers. I've heard the same sort of admissions of ignorance from producers and directors, as well as artists and animators.

Here is an example of a story by my favorite golden age story man... Warren Foster.

Warren Foster is responsible for writing many of the greatest cartoons ever made... He started as a gag man on Fleischer's Popeye series in New York, and moved West in 1938 to join Bob Clampett at Warner Bros. He wrote a string of classic cartoons... "Coal Black And De Sebben Dwarfs", "Birdy And The Beast", "Falling Hare", "Baby Bottleneck", "The Great Piggy Bank Robbery", and perhaps Bugs Bunny's most shaded performance, "Tortoise Wins By A Hare".

After Clampett's departure from the studio, he wrote for McKimson ("Gorilla My Dreams", "Easter Yeggs", "The Foghorn Legorn") and Freleng ("Ballot Box Bunny", "Bugs And Thugs", "Birds Anonymous"). Freleng said that Foster was the best story man he ever worked with. In the TV era, Foster wrote episodes of Huckleberry Hound, Yogi Bear, Quick Draw McGraw, The Jetsons and The Flintstones.

Here is a storyboard by Foster from his days at Hanna-Barbera. This is a model of clarity and simplicity, designed to meet the stringent economics imposed on TV animation at the time. This is a board from the pilot episode of The Yogi Bear Show.

















WHAT ABOUT ADVENTURE SHOWS
AND COMIC STRIPS?

In his article, "Detour Guide For An Armchair Marco Polo", master comic strip storyteller, Milton Caniff writes...

There has been a tendency recently for artists to automatically assume they cannot write their own stories because they see so many double by-lines. I contend that any man who can invent pictures can invent situations and dialogue. In fact, it should be easier for the artist to pilot his own action because he is not likely to write himself into one of those undrawable dilemmas in manuscripts about which illustrators have complained for years. --Milton Caniff

Sound familiar?

I'm working on a series of illustrated articles on how cartoons were written in the "golden age". For the first four installments, see...

WRITING CARTOONS

Part One- The Gag Session
Part Two- A Continuity Emerges
Part Three- Structure
Part Four: The Rough Board

If you found this post to be interesting, see also... Ren & Stimpy: Big House Blues Part One, Part Two and Part Three / The Alvin Show: The Whistler Storyboard / Chad's Design For Television / Ren & Stimpy: Stimpy's Invention Part One and Part Two / Charlie McElmurry's Year Of The Tiger Storyboard.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

2.23.08
.

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Pinups: Eldon Dedini's Satyrs and Nymphs

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 more great pinup art.


You can't beat Christmas in the country.
A while back, we posted a group of Playboy cartoons by Eldon Dedini. Today, we present more of this artist's amazing work, along with a video interview of Dedini in his studio discussing how he got his start.

Eldon Dedini is best known for his magazine cartoons from Esquire and Playboy. But early in his career, he was an editorial cartoonist for local newspapers, and a story man for Walt Disney.

Archive supporter, Ken Kearney lives close to the Monterey area, where Dedini lived and worked for many years. In 2005, he produced an interview video, which he generously donated to the ASIFA-Hollywood Animation Archive for our biographical database. Here is a clip from Ken's video where Dedini tells how he got started as a cartoonist and his experiences as a story man with Disney on Fun & Fancy Free and Donald Duck cartoons like Dumbell of the Yukon.



Eldon Dedini Interview (Ken Kearney/2005)
(Quicktime 7 / 14.2 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.

DEDINI IN PLAYBOY
Here is a feature on Dedini's famous "Satyr & Nymph" comics from Playboy, followed by some higher resolution images of individual cartoons...







We forgot the picnic basket!


I'd like you to meet my father,
but I don't dare. You know how
even old satyrs are!


It's not that I didn't believe in Santa Claus-
It's just that you've shattered my image
somehow...
For more info on the great cartoonists who worked for Playboy in the 1960s, see these posts... Eldon Dedini Part One, Erich Sokol, Kurtzman & Elder's Little Annie Fanny, Doug Sneyd and Phil Interlandi.

If you're a fan of Dedini, you will want to get Fantagraphic's great book, An Orgy Of Eldon Dedini. It comes with a DVD documentary called "Dedini: A Life In Cartoons" Check it out!

I'm not sure if Ken is offering these for sale, but if you would like to inquire about ordering a DVD of Ken Kearney's Dedini interview, email, kenkearneystudios@hotmail.com.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

2.10.09
.

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Cartooning: Byrnes' Complete Guide To Cartooning Part Two

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 info on the history of animation told through the careers of great animators.



BLONDIE, BRINGING UP FATHER, HENRY, MANDRAKE THE MAGICIAN, DICK TRACY, GASOLINE ALLEY, PRINCE VALIANT... Studying The Comics Pages

We continue with the section on newspaper cartoonists from Gene Byrnes' Complete Guide To Cartooning 1950. Today, there are three articles on how to get fresh ideas, Byrnes goes through the newspaper analyzing the appeal of various comic strips, and Chic Young and Hal Foster are featured.

HOW TO GET IDEAS
By Dana Coty
I don't have much information on Dana Coty (Dec. 19, 1901 - March 19, 1962) aside from the fact that he worked at Disney in the mid-30s, and was a story man at Famous Studios.



J. N. Darling (Ding)
on EDITORIAL IDEAS
"Ding" Darling was a Pulitzer Prize winning cartoonist for the Sioux City Journal, The Des Moines Register, the New York Herald Tribune and the New York Globe. His editorial cartoons dealing with conservation causes were a staple of the opinion sections of many papers for decades. He passed away in 1962.



IDEAS FOR ADVERTISING CARTOONS
By Sam Cobean
Sam Cobean was an inbetweener on Snow White, barely surviving on $16 a week, when he joined the strikers fighting for the creation of the Screen Cartoonists Guild. After returning to work when the contract was settled, Sam realized that Disney was not the place for him and took a job as a copy boy at the Washington Post. There, he developed an interest in political cartoons. During the war, he worked in a unit producing training cartoons and pamphlets along with cartoonist Charles Addams. Addams introduced him to the editor of the New Yorker, and Cobean's cartoons appeared there for many years afterwards. In 1950, he created a book of cartoons, titled "Cobean's Naked Eye" which was a bestseller. He died in a car accident in 1951.



STUDIES OF COMIC STRIPS
In this section, Gene Byrnes analyzes the style and appeal of various contemporary newspaper comics. The most interesting thing about the strips he features is the high level of draftsmanship, and the diverse variety of styles and approaches to the medium. Newpaper comics were once considered the pinnacle of cartooning... but today, they have plunged to its nadir. Comparing Prince Valiant to Drabble or Bringing Up Father to Cathy is a depressing task. It's shameful that so great an artform has been allowed to deteriorate so far. I hope there are aspiring cartoonists out there who are willing to take up the difficult task of restoring the comics page to its rightful place in American culture again. This overview is a good place to start investigating the forgotten art of newspaper cartooning.








SUNDAY PAGES
Featuring Chic Young & Hal Foster


Chic Young was born in 1901 and began his career as a newspaper cartoonist in 1923. His first strip for King Features was Dumb Dora and in 1930, he created the strip, Blondie, one of the longest running newspaper comics of all time. He drew it until he passed away in 1973, and his son, Dean continues to write it to this day. Blondie was hugely successful and spawned film and TV adaptations.



Hal Foster was raised in the wilds of Halifax, Nova Scotia where he was an avid boater and outdoorsman. He dropped out of school in the ninth grade and began a course of self education studying sketching and anatomy. He set art aside to become a hunting guide and gold prospector, but at age 28, he decided to devote his life to a career in art. He received classical training at the Chicago Art Institute, the National Academy of Design and the Chicago Academy of Fine Arts. In 1927, he was contracted to do a comic strip adaptation of Edgar Rice Burroughs' Tarzan of the Apes. 1n 1937, Foster introduced an original property, Prince Valiant, the most successful adventure strip of all time. Foster produced the strip for over 40 years, passing away in 1982.




Other artists featured in this section are Jimmy Hatlo, Otto Soglow, George McManus, Chester Gould and Frank King... all worthy of spending a few minutes Googling and reading up on.






The posts I present here at the ASIFA-Hollywood Animation Archive blog aren't intended to be the last word on any subject, particularly one as large and multifaceted as the history of cartooning. My hope is that you use these posts as a springboard for your own investigation. Take the names and examples I present here and start searching the web for more... scour bookstores and flea markets... and expand your frame of reference beyond just what is presented here. I wish I had a source of "hot tips" like this when I was first starting out. Take advantage of this great resource we're building.

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Pinups: Kurtzman and Elder's Little Annie Fanny

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 more great pinup art.



Over the weekend, an Archive Supporter stopped by to donate his collection of vintage Playboy magazines to the Archive. He mentioned that there was no need to thank him by name on the blog, his wife would be pleased that they were given away. He plans to proudly tell her that he donated his collection to a museum!

Some people have asked why we've featured Playboy cartoons by artists like Erich Sokol and Eldon Dedini. The answer is simple... Playboy employed some of the top cartoonists of the 50s and 60s. Their work exemplifies all of the attributes of good design.

Today, we are featuring the work of two giants of cartooning... Harvey Kurtzman and Will Elder.

Harvey Kurtzman made a name for himself in his early years with the one page "Hey Look!" comics, as well as his work editing EC Comics' war comics. His style was detailed and thorough. His layouts and continuity breakdowns left little room for deviation. When EC decided to create a humor line, Kurtzman was assigned the job as the founding editor of Mad. Beginning as a ten cent comic book, and eventually switching to a twenty five cent magazine (to avoid review by the Comics Code Authority), Mad became a huge hit in the five years it was under Kurtzman's leadership. Much of the sensibilities of Kurtzman's work for Mad are shared by "Little Annie Fanny" for Playboy.

Will Elder worked as an artist under Kurtzman at EC and on Mad, expanding and elaborating on Kurtzman's detailed layouts. They were a great team, and the combination of Kurtzman's foreground action and Elder's background gags became a standard device for them throughout their collaborations. Other artists who worked on the "Little Annie Fanny" series were Jack Davis, Russ Heath and Al Jaffee (all former Mad alumni).

The "Little Annie Fanny" series debuted in the October 1962 issue of Playboy magazine. The comic was a parody of the Playboy image itself, vaguely based on the "Little Orphan Annie" theme, with lots of topical references and pokes at popular culture. The strip was the first fully painted comic in American magazines, and was very time consuming to produce. Kurtzman continued the series until 1988- its 100th episode- when he retired it, stating that all of the possible story ideas for the character had been exhausted.

January 1963






April 1964






March 1966




Check out these great "Little Annie Fanny" collections at Amazon.com!

We'll have more great Playboy cartoons for you soon.

If you enjoyed this post, see... Eldon Dedini Part One, Part Two (video interview!) and Part Three, Jack Cole And Other Great 50s Playboy Cartoonists, Jack Cole Valentine, Little Annie Fanny Takes A Trip, More Little Annie Fannie, Biography: Jack Davis, Early Erich Sokol Cartoons, A Passel Of Sokol, and More Sokol, Doug Sneyd and Phil Interlandi, Early Interlandi Playboy Cartoons and Meet Doug Sneyd.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

5.15.08
.

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Blogs: Research Roundup 3.13.07

Al Capp's Hard Hats
(Jeffrey's Goof Button)

Walt Stanchfield's Gesture Drawing For Animation
(Leo Brodie's Punch & Brodie)

Pinocchio Drafts
(Hans Perk's A. Film L.A.)

I. Klein on Charlie Bowers Part One / Part Two / Part Three
(Michael Sporn's Splog)

Virgil Partch's The Captain's Gig
(Allan Holtz's Stripper's Guide)

Bobe Cannon Commercial
(Amid Amidi & Jerry Beck's Cartoon Brew)

1943 Article On George Pal Puppetoons
(Amid Amidi & Jerry Beck's Cartoon Brew)

Hollywood Censors Its Animated Cartoons 1939
(Amid Amidi & Jerry Beck's Cartoon Brew)

Peter Pan Sweatbox Notes
(Tinker Bell's Sacred Tree of the Aracuan Bird)

Carlo Vinci: Slow But Sure
(John K's All Kinds of Stuff)

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Animation Art: MGM Animation Drawings

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, we digitized a collection of animation drawings from MGM. Can anyone out there name all the cartoons represented here? Post your guesses to the comments below. Have fun!


















If you found this post to be interesting, see also... Cartoons: Tail of Two Bulldogs

For more sketches to study, see... Reluctant Dragon and Pinocchio Model Sheets, Two Disney Concept Artists, Mice & Duck Models and More Disney Model Sheets.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

1.20.09
.

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Cartooning: Byrnes' Complete Guide To Cartooning Part One

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 info on the history of animation told through the careers of great animators.

REG'LAR FELLERS, LI'L ABNER, FLASH GORDON, TERRY & THE PIRATES, GAGS & GALS, STEVE CANYON... Meet The Men Behind The Comics

Today, we began digitizing an important book... Gene Byrnes' Complete Guide To Cartooning 1950. Marc Crisafulli and David King generously lent us a copy of this amazing collection of capsule features on all of the major cartoonists of the early 50s for digitization. It's said that Ralph Bakshi learned to cartoon from this book.

In the coming weeks, I will be posting more from this book, along with a little biographical info on the featured artists. Today, the cartoonists profiled are all newspaper comic strip creators... Gene Byrnes, Jefferson Machamer, Alex Raymond, Louis Eisele, Charles Voight, Al Capp and Milton Caniff.

REG'LAR FELLERS
By Gene Byrnes
Gene Byrnes intended a career in sports, but after being laid up from a leg injury in 1911, he took to copying cartoons by Tad Dorgan and decided to take a correspondence course in cartooning. He began his career as a professional cartoonist with the help of Winsor McCay, who got him a job with the New York Telegram as a sports cartoonist around 1915. In 1917, he created his most famous strip, Reg'lar Fellers. which ran for over thirty years. He wrote several influential books on cartooning and illustration in the 40s and early 50s. He passed away in 1974.



RIP KIRBY
By Alex Raymond
Alex Raymond is best known for creating the comic strip, Flash Gordon in 1933. He was responsible for several other important strips as well, as creator or ghost artist, including Rip Kirby, Jungle Jim, Tim Tyler's Luck and Tillie the Toiler. His strip, Secret Agent X9 was created in collaboration with Dasheill Hammett. He died in a car accident in 1956.




JEFFERSON MACHAMER
Thomas Jefferson Machamer began as a staff artist on the Kansas City Star in the early 1920s, and soon moved to New York, where he secured work with the New York Tribune. He made his name with his cartoons of pretty girls in Judge magazine in the late 1920s. In 1932, his strip, Gags & Gals debuted in the New York Mirror. He continued to be active in both newspaper cartoons and magazine illustration throughout the 40s and 50s, and passed away in 1960.






LOUIS EISELE
I don't have any information on Louis Eislele. If anyone out there knows his biographical details, please post them to the comments below.



CHARLES VOIGHT
Charles Voight was known as a "girl specialist" with illustrations and comics in the New York World and Life magazine in the early decades of the 20th century. His strips included Petey Dink and Betty. He passed away in 1947.



ON THE WRITING OF CONTINUITY
By Al Capp
At the age of nine, Al Capp lost a leg in a streetcar accident. He became the youngest syndicated cartoonist in the country at age 19 with his strip, Colonel Gilfeather. He ghosted the strip Joe Palooka for Ham Fischer for a while, before striking out on his own with Li'l Abner in 1934. The strip was among the most popular of all time, entering the popular culture with Capp's creations like "Sadie Hawkins Day", "Kickapoo Joy Juice" and "The Shmoo". Capp's strip inspired a Broadway musical and feature film and ran until 1977. Capp died two years later.





DETOUR GUIDE FOR AN ARMCHAIR MARCO POLO
By Milton Caniff
Milton Caniff was born in Ohio in 1907. He took a job as a staff artist with the Associated Press in 1932, and soon inherited Al Capp's strip Colonel Gilfeather when Capp left the syndicate. In 1934, Caniff created the comic strip he is best known for, Terry and the Pirates. The series was hugely popular throughout the war years, but Caniff didn't own the copyright- it belonged to The Chicago Tribune/New York Daily News. He left the comic behind to create a new one, Steve Canyon, which spawned a short-lived television series and ran until Caniff's death in 1988.





I'll have more from this book soon.

If you found this post to be interesting, see... Byrnes' Complete Guide To Cartooning Part Two: Studying Comic Strips

Also see...Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.


Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Instruction: Clair Weeks Animal Studies 1940

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 art instruction posts.


Today, I'm proud to present more amazing treasures from the Clair Weeks collection. As I mentioned in an earlier post, Weeks was born the son of a missionary in India. At DIsney, he was often teased about his resemblence to a village parson or pilgrim. (See caricature to the right.)

Around 1940, Disney Studios was at its peak. Several animated feature films were in production at once, and the staff numbered at an all time high. Disney instituted a comprehensive training program for the artists at his studio, which included life drawing, animal studies and action analysis classes under the direction of Don Graham. Today, we scanned animal drawings by Clair Weeks from these classes.


Archive supporter, Mike Fontanelli was in last night when I was scanning these beautiful sketches, and he expressed his admiration for Weeks' skill. It's difficult to draw animals and capture any kind of natural pose because they are always moving. Weeks not only exhibited mastery of construction and posing, but also the ability to embed the spark of life that makes a drawing come alive. His technique allowed for both analytically realistic depiction and cartoony stylized caricature.

Aspiring cartoonists and animators should look over these drawings carefully and make a trip to the zoo to study the animals themselves the way the artists did at Disney in 1940.
















If you found this interesting, you'll want to check out our previous posts about material from the collection of Clair Weeks... Clair Weeks Goodbye Book and the 1938 Disney Artists Tryout Book. Also, see... Willard Mullen on Animals.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

1.14.08
.

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Pitch: Herb Klynn's The Shrimp Part One

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.



Over the weekend, we received another donation from the family of UPA and Format Films designer, Herb Klynn. The Klynn collection is fascinating, because it consists of portfolio cases full of unsold pitches. The one I'm featuring today is a sort of animated Leave It To Beaver in a style very similar to the films of UPA. These sketches are very likely the work of Klynn himself, and stand as an example of his impeccable design sense and appeal.

Here is Format Films' presentation for THE SHRIMP.


My name is Christopher. I'm a guy like everybody else.


This is The Shrimp. He's my brother and he's different.


He doesn't talk much. He just follows me and copies everything I do. That's his turtle, Mr. Coolidge.


His really name is Marvin. Only everybody calls him Shrimp. Except my mother. She calls him Marvin. I don't know why. My mother thinks he's an angel. She kisses him and junk like that. Someday he'll bite her. She'll see.


My father likes the Shrimp too. I don't know why. Maybe it's because he ain't home all day like me. Some day he'll find out.


My mother thinks he's more important than the President maybe. She doesn't care about me havin' fun. Oh no. I'm supposed to take care of him and watch him and keep his nose dry. It's all I do practically. He has the wettest nose on the block.


Nobody talks like my mother. Not nearly. Just listen to her: "Christopher what's the matter with you why must you be so selfish you're a big boy you're eight marvin's only four anybody would think you'd love to take him with you wherever you go if you ever tie him to a fire hydrant again and leave him there so he has to ring false alarms for help you'll be so sorry I'll do more than just tell your father I'll take away your bicycle for good!" See? She never even has to take a breath.


These are the guys in our gang. With our shadow.


The Shrimp never wants to play with the little kids. He only wants to be with me and the other big guys. Like the ones in my gang. Which are swell.


This if Funk-Funk. He's keen. When he grows up, he wants to get tattooed all over and be in the circus.


This is Fats. He's neat. Once he ate twenty two Eskimo Pies without throwing up. He just got a rash.


This is Cannonball. He's cool. He never takes off his skates. Except in bed. Or on Christmas.


Caption missing.


This is Hubba. He's slick. He likes girls.


I do too. But it depends on the girl.

Although the humor in South Park is from a totally different universe, imagine how much better the show would be if it had half the style and expressiveness of these sketches. Quality design and expressive animation matters.

Many thanks to the family of Herb Klynn. I'll post more from this pitch soon.

If you found this article to be interesting, see also... Herb Klynn And The Animated Feature That Might Have Been.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Media: More 50s and 60s Album Covers

This post is just the tip of the iceberg... see reason number 3 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about 50s children's book illustrators.



Here are some more great album covers from the colleciton of Archive volunteer, Eric Graf. Check out our Previous Post of album covers too.










For more LP art, see... 50s and 60s Album Covers

For more amazing illustration for kids, see our postings on Little Golden Books

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Illustration: Uncle Remus Stories Part Two

This post is just the tip of the iceberg... see reason number 3 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about 50s children's book illustrators.



Here are more scans from "Uncle Remus Stories", loaned to us by archive volunteer, Eric Graf. These wonderful illustrations are by Al Dempster and Bill Justice. For more images from this great Giant Golden Book, see... Uncle Remus Stories Part One

As always, if you'd like to see more of this book, let me know in the comments below.













If you found this to be useful, see also... Uncle Remus Stories Part One, Little Verses Part One, Part Two and The New Golden Song Book Part One, Part Two and Part Three, and Huckleberry Hound Builds A House.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Pinups: John Held Jr.

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 more great pinup art.

Today, Archive volunteer, Gary Francis brought in a couple of Playboys from the late 60s to add to our collection of digitized images by Sokol, Dedini, Interlandi, Sneyd and Vargas. We will be posting more by these great artists soon, but I particularly wanted to bring this great feature on John Held Jr. to your attention.

John Held Jr was born in 1889, and by the age of 16 was an accomplished sports cartoonist for the Salt Lake City Tribune. He served in the military during WWI, and soon after his return he gained fame for his work as an illustrator for Life, Judge and College Humor. His style and subject matter defined the "Jazz Age" of the 1920s. His cartoons depicting sexy flappers and their raccoon coated beaus living the life of flaming youth were all the rage. In later years, he worked in woodcuts and illustrated scenes from the "Gay Nineties"

Here is a feature on Held from the January 1966 issue of Playboy magazine...









I just added the last page of this article, which includes some great biographical info on Held. (A nice Virgil Partch comic too!) If you would like to see more of Held's work, visit Shane Glines' excellent site... CartonRetro.com.

If you find this posting to be useful, you should also see our postings on George Petty's Ridgid Tools Calendars, Erich Sokol, Eldon Dedini, Doug Sneyd and Phil Interlandi.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

12.22.08
.

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Filmography: Tytla and Terry-Jekyll and Hyde

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.



Today, we continued to digitize our collection of Terrytoons. The second-tier golden age studios have been given short shrift in animation history books. It's unfortunate that book after book about Walt Disney and the Warner Bros. cartoons continue to be published when other studios, like Terry-Toons and Walter Lantz have never been adequately covered. The ASIFA-Hollywood Animation Archive is gathering together information on these studios with the hopes that we can raise the awareness of these neglected cartoons.

Here is a fabulous Terry-Toon featuring Mighty Mouse... Mighty Mouse Meets Jekyll & Hyde Cat. You might remember the recent postings we published here with John Canemaker's notes to a gallery exhibit of artwork by Bill Tytla, (Part One / Part Two). After leaving Disney during the strike, Tytla worked for a brief time at Terry-Toons before moving on to Famous Studios. This is one of his best cartoons for Terry during this period.




In particular, pay attention to Tytla's wonderful transformation sequence...








The animation of the cat running across the rooftops has a creepy sort of "man in a cat suit" feeling. At Terry-Toons, the animators were given much more latitude to handle scenes in their own particular style. Tytla takes full advantage of that in this cartoon.






Mighty Mouse Meets Jekyll & Hyde Cat (Terry/1944)
(Quicktime 7 / 13.8 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.

If you found this post to be interesting, you should also see... Canemaker On Tytla Part One and Part Two, The Temperamental Lion 1940, Catnip Capers 1940, Jim Tyer's Barnyard Actor 1955 and Terrytoons Lobby Cards

Many thanks to John Kricfalusi for donating this great cartoon to our archive.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Meta: 2006 Annie Awards Photos

Here are some photos from this Sunday's Annie Awards... The shirt I'm wearing was made for me by my sister from material made in the early 30s. (Sorry there are so many of me! I wasn't the one holding the camera this time.) Many thanks to all the people who attended.


Me with my brother, Don and niece Sarah


Margaret Kerry Willcox, the rotoscope model for
Tinkerbell and voice actress from Clutch Cargo


Archive Sponsor Kevin Koch, President of the Animation Guild


Bill Frake, director/storyboard artist (Bill has some great
lecture notes from Disney he will be sharing with us soon.)


Marea and Jerry Beck, Archive Angels


Annette O'Neil, whose expertise
makes the Annies a success year after year


Andreas Deja, Winsor McCay Award recipient and Archive Angel


Kathy and Antran, two of the greatest people I know


The Annie Trophy Girls (the Annies are a lot of fun!)
UPDATE: ASIFA-Hollywood Volunteer, Jason Jones snapped some great pictures...


June Foray and me


Archive Volunteers: Marc Deckter, Michael Fallik and Eric Graf


Frank Gladstone and the Winsor McCay Award winners: Genndy Tartakovsky, Andreas Deja and Bill Plympton


John Lasseter and the Best Animated Feature Annie for "Cars"

If anyone out there has photos of the event, please email them to me with the names of the people in the picture at sworth@animationarchive.org

See also... List of 2006 Annie Award Winners, 2006 June Foray Award and Yet More Annie Photos

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Blogs: Research Roundup

There's a wealth of information in the blogosphere! When I come across good stuff, I'll post a roundup of links here on the Archive site for you. Enjoy! -Steve

News of Yore: Paul Terry on Animation
(Allan Holtz's Stripper's Guide via Cartoon Brew)

Emanuele Luzzati: 1921-2007
(Michael Sporn's Splog)

Ward Kimball's Escalation
(Amid Amidi & Jerry Beck's Cartoon Brew)

Feodor Rojankovsky: Drawing Skill Plus Design
(John K's All Kinds of Stuff)

Yaroslav Horak: James Bond Comics
(Warren Leonhardt's Percussive Oompah)

More About T.S. Sullivant
(Uncle Eddie Fitzgerald's Theory Corner)

Don Graham's Action Analysis Class Notes
(Hans Perk's A. Film L.A.)

Telling Tommy About Famous Inventors: Winsor McCay
(Tom Stathes' Cartoons on Film)

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Meta: 2006 Annie Award Winners

PRODUCTION CATEGORIES

• Best Animated Feature: Cars - Pixar Animation Studios


• Best Home Entertainment Production: Bambi II - DisneyToon Studios


• Best Animated Short Subject: No Time For Nuts - Blue Sky Studios


• Best Animated Television Commercial: United Airlines "Dragon" - DUCK Studios


• Best Animated Television Production: Foster's Home for Imaginary Friends - Cartoon Network Studios


• Best Animated Video Game: Flushed Away The Game - D3 Publisher of America, Inc.

INDIVIDUAL ACHIEVEMENT CATEGORIES

• Animated Effects: Scott Cegielski - "Flushed Away" - DreamWorks Animation & Aardman Features


• Character Animation in a Feature Production: Gabe Hordos - "Flushed Away" - DreamWorks Animation & Aardman Features


• Character Animation in a Television Production: Yu Jae Myung - Avatar "The Blind Bandit" - Nickelodeon


• Character Design in an Animated Feature Production: Nicolas Marlet - "Over The Hedge" - DreamWorks Animation


• Character Design in an Animated Television Production: Mike Kunkel - The Life & Times of Juniper Lee "Party Monsters" - Cartoon Network Studios


• Directing in an Animated Feature Production: Tim Johnson & Karey Kirkpatrick - "Over The Hedge" - DreamWorks Animation


• Directing in an Animated Television Production: Giancarlo Volpe - Avatar "The Drill" - Nickelodeon


• Music in an Animated Feature Production: Randy Newman - "Cars" - Pixar Animation Studios


• Music in an Animated Television Production: James L. Venable & Jennifer Kes Remington - Foster's Home for Imaginary Friends "One False Movie" - Cartoon Networks Studios


• Production Design in an Animated Feature Production: Pierre-Olivier Vincent - "Flushed Away" - DreamWorks Animation & Aardman Features


• Production Design in an Animated Television Production: Martin Ansolabehere - Foster's Home for Imaginary Friends "Good Wilt Hunting" - Cartoon Network Studios


• Storyboarding in an Animated Feature Production: Gary Graham "Over The Hedge" - DreamWorks Animation


• Storyboarding in an Animated Television Production: Li Hong - The X's "You Only Sneeze Twice" - Nickelodeon


• Voice Acting in an Animated Feature Production: Ian McKellan - Voice of the Toad - "Flushed Away" - DreamWorks Animation & Aardman Features


• Voice Acting in an Animated Television Production: Eartha Kitt - Voice of Yzma - The Emperor's New School "Kuzclone" - Walt Disney Television Animation


• Writing in an Animated Feature Production: Dick Clement & Ian La Frenais and Chris Lloyd & Joe Keenan and Will Davies - "Flushed Away" - DreamWorks Animation & Aardman Features


• Writing in an Animated Television Production: Ian Maxtone-Graham - The Simpsons "The Seemingly Neverending Story" - Gracie Films

JURIED AWARDS

• June Foray Award - Significant and benevolent or charitable impact on the art and industry of animation: Stephen Worth


• Winsor McCay Award - Recognition of lifetime or career contributions to the art of animationL Bill Plympton, Genndy Tartakovsky, Andreas Deja


• Certificate of Merit: Bill Matthews, Michael Fallik, Marc Deckter, Eric Graf

For more info, see... www.annieawards.org and www.asifa-hollywood.org

See also... 2006 Annie Awards Photos and 2006 June Foray Award

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Meta: June Foray Award

Tonight was the 34th Annual Annie Awards. I was honored to receive the June Foray Award for a significant benevolent impact on the art of animation. The award was presented by the great lady herself, June Foray.

Here is the text of my acceptance speech...

In 1973, Eric Larson, one of Disney's Nine Old Men, announced to the studio that he was setting down his pencil for good. He saw the great accomplishments of his generation of animators slipping away, and knew that the art of animation needed his help. Instead of taking advantage of a well-deserved retirement like most of his peers, he decided to dedicate the rest of his life to training and developing young animators.

His story is kind of a cross between Noah's Ark and The Wise Little Hen. For the next fifteen years- during the dark ages of the 1970s, he set to work building the foundation for the recent wave of animation. He didn't get discouraged, he stuck with it until the end. He passed away in 1988. By then, his job was done. The torch had been passed.

Many of the people you see on this stage tonight owe their first break in the animation business to Larson's training program... Andreas Deja, Glen Keane, Brad Bird, John Lassiter... They all use the knowledge Larson generously passed on to them every single day of their career. Eric Larson may not be the first name you think of when you think of the Nine Old Men, but he's the one who ultimately had the greatest impact on the art of animation.

It's doubtful that we'll ever see the likes of Larson's training program again. No major animation studio is interested in devoting their resources to such a forward thinking idea like this. The artform is the same, the raw talent is still out there, but the business is very, very different. Today. if young artists want to grow and develop and hone their skills, they need to do it on their own.

The ASIFA-Hollywood Animation Archive is dedicated to following in Larson's footsteps, providing invaluable support to the animators of the future. Now, I'm no Eric Larson- I can't do it single-handedly the way he did. But I can facilitate gathering together the experience, knowledge and teamwork it'll take to take animation to the next level.

Ralph Bakshi once told me... "STEVIE! If you're able to make a living drawing cartoons, you're the luckiest guy in the world. You owe for that... You've gotta give back to the muse." Ralph is right. We owe it to the people who came before us, like Eric Larson and the hundreds and hundreds of other legendary animators who took time out of their busy schedules to give a green assistant a drawing lesson, or offer a few words of advice and encouragement to a student. I know I have a list a mile long of people who helped me when I was just starting out. I'm sure all of you do too.

ASIFA-Hollywood is giving all of us the opportunity to give back and build the foundation for the next wave of animation. We need your help. I want you to know I appreciate this honor. I can't think of an award I would rather have than the one with June Foray's name on it. She's at the top of my list.

Many thanks to the people at the event who offered words of encouragement. A special thanks to my hero and friend, June.

See also... List of 2006 Annie Award Winners and 2006 Annie Awards Photos

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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History: Nat Falk's How To Make Animated Cartoons Part Five

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 info on the history of animation told through the careers of great animators.

Here is the conclusion of Nat Falk's "How To Make Animated Cartoons". This section contains lessons on how to animate. There are some great examples here taken directly from cartoons by Terry, Lantz, Fleischer and Mintz. If you missed the first chapter of this rare book and would like to start from the beginning, see... Nat Falk's History of Animation. The rest of the chapters are linked at the bottom of this post.

HOW TO ANIMATE













For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made and Part Four: Drawing For Animation.

For more drawing lessons, see The $100,000 Cartoon Drawing Course, Bill Nolan's Cartooning Self Taught and Willard Mullin On How To Draw Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Cartoons: Cartoon Lions

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.

I have to apologize... I've been so busy today in meetings, I don't have time to do a full post. But I'm working on a good one featuring more material from the Clair Weeks collection that I promise I'll finish on Saturday. In the meantime, here are a few quick lion scans and links to go with John K's interesting post, The Disney Lion: Evolution and Devolution.


Chuck Jones animation layout from "Inki & the Lion"


Connie Rasinski's King Loony XIV from "Nutty Network"


Bill Nolan draws the King of Beasts in "Cartooning Self Taught"


Tibor Gergely Golden Book illustration from "A Day In The Jungle"


Willard Mullin on Drawing Animals


More of Connie's Lion!
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive

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History: Disney's Artist Tryout Book

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 info on the history of animation told through the careers of great animators.


Today, we scanned another fascinating document from the collection of Clair Weeks. This is the "Disney Studios Artist's Tryout Book" from 1938. It provides a valuable overview of the production process and description of the various job categories. You will definitely want to print this out and study it carefully.

Here are some quotes from this booklet that you might find interesting...

STORY MEN must be able to draw. The stories are not written but are visualized in sketch form.

The value of an animator is dependent upon his ability to dramatize and caricature life, and to time and stage his characters' actions in an unusual and interesting way. An animator must be a showman- he must know how to entertain an audience, to present a gag, to picture dramatically an ordinary incident. Above all, he must be a sure and skillful draftsman.

THE DIRECTOR must have complete knowledge of every phase of animation, have executive ability and outstanding dramatic talent. He must be familiar with practically all of the Arts... To date, all directors have arisen from the ranks of the Studio, sometimes through story work, but more often through animation. Because of the complexity of animation it seems that this will continue to be the case.

All inking and painting of celluloids, and all tracing done in the Studio is perfomed exclusively by a large staff of girls known as Inkers and Painters... This is the only department in the Disney Studio open to women artists.

The original brochure was in very poor condition, with tears and waterstains throughout. I'm sure that this was carried around in Weeks' back pocket for quite a while. But Photoshop can work miracles, so these scans ended up looking better than the original.

In case you haven't noticed, the Archive has become "an embarassment of riches". We are doing very important work here. I hope you will support our project any way you can.


















If you found this useful, you'll also want to check out... Walt Disney Goes To War, John Canemaker on Bill Tytla and Musical Timing Rediscovered.

Jerry Beck posted a related booklet at Cartoon Brew... Titled "The Ropes At Disney", it outlines the rules and regulations governing the employees of the studio and the organizational hierarchy of the various departments.



If you haven't seen it yet, make a point of checking it out.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

12.11.08
.

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History: Nat Falk's How To Make Animated Cartoons Part Four

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 info on the history of animation told through the careers of great animators.



Here is the first half of the last chapter in Nat Falk's "How To Make Animated Cartoons". This section contains a brief article by Walter Lantz dealing with the creation of Andy Panda, and lessons on how to draw animated cartoons. If you missed the first chapter of this rare book and would like to start from the beginning, see... Nat Falk's History of Animation. The rest of the chapters are linked at the bottom of this post.

Thanks to the family of the legendary animator, Carlo Vinci for sharing this great book with us!

HOW I CREATED ANDY PANDA
By Walter Lantz





HOW TO DRAW ANIMATED CARTOONS











For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History of Animation, Part Two: The Cartoon Studios Part Three: How Cartoons Are Made and Part Five: How To Animate.

For more drawing lessons, see The $100,000 Cartoon Drawing Course, Bill Nolan's Cartooning Self Taught and Willard Mullin On How To Draw Animals.

Next week will be a busy one! We will be posting the concluding chapter of this book; the Annie Awards are next Sunday, February 11th; and I have two amazing books loaned to us by the family of Clair Weeks to digitize. If anyone is available to volunteer Tuesday, Thursday or Saturday, please email me and let me know when you would like to come help out.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Biography: Bob Clampett's Swimming Pool

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.

Archive supporter, Mike Fontanelli stopped by Thursday night and dropped off this TV Guide from February 17th, 1962...



It features a story on "Hollywood swimming pools", including the pool belonging to Bob Clampett...




Aren't those cutouts of the characers cool? Notice the "footprints in cement" from the characters surrounding the pool.

Thanks, Mike!

For more on Bob Clampett, see... Biography: Bob Clampett in Schlesinger's Exposure Sheet.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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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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Illustration: Uncle Remus Stories 1949

This post is just the tip of the iceberg... see reason number 3 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about 50s children's book illustrators.


On Saturday archive volunteer, Eric Graf brought by another treasure for us to digitize... a 1949 edition of the Disney Giant Golden Book, "Uncle Remus Stories". It features a spectacular cover by Mary Blair and many beautiful interior illustrations by Al Dempster and Bill Justice.

This book is interesting, not just for its relationship to the rarely seen Disney film, Song of the South, but for the material that doesn't appear in the film. Along with the familiar stories about the Tar Baby and Brer Rabbit's Laffin' Place, the book illustrates a dozen other stories like "De Great Rabbit Terrapin Race", "Brer Fox and de Stolen Goobers" and "Why de Cricket Fambly Lives in Chimbleys".
































If you found this to be useful, see also... Little Verses Part One, Part Two and The New Golden Song Book Part One , Part Two and Part Three, and Huckleberry Hound Builds A House.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

11.24.08
.

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Comics: Cliff Sterrett's Polly And Her Pals Part Two

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 print cartoonists.



It's been a while since we featured the work of Cliff Sterrett and his strip, Polly & her Pals. To see our first post on this subject, see... Cliff Sterrett's Polly & Her Pals 1936. Many thanks to Kent Butterworth for sharing these rare original comics pages with us.


February 23, 1936


March 29, 1936


April 5, 1936


June 7, 1936


June 28, 1936


July 5, 1936


August 2, 1936


September 13, 1936

For more examples of Cliff Sterrett's genius, see Polly & Her Pals Part One.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Meta: The $100,000 Animation Drawing Course- Functional Drawing

NOTE: Do not move on to this lesson unless you have completed Lesson One, Lesson Two, Lesson Three, Lesson Four, Lesson Five, Lesson Six, Lesson Seven, Lesson Eight, Lesson Nine, and Lesson Ten

FUNCTIONAL DRAWING

Read John Kricfalusi's lesson at...
Functional Drawing Part One: Layout & Posing



I will add links to the further lessons in this topic as John posts them.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: Reiniger's Prince Achmed Part Two

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.



A reader of this blog, Michael generously translated the synopsis of the first part of Lotte Reiniger's Adventures of Prince Achmed. I updated the first post on this landmark film with the info, and have included his translations here as well. Thanks, Michael!



A flaming abyss opened next to Prince Achmed. A hideous woman rose out of it and stepped towards him. Was she going to kill him? He walked up to her and told her who had brought him there, and that the great wizard's animals had kidnapped him. When she heard that, she shouted: "He is my enemy, let us fight him together!" She called the monsters that served her, for she was very powerful, as powerful as the wizard. She ordered them to dive into the core of the earth and fetch weapons with which they could fight the wizard. Now she was friendly to Achmed, took him by the hand and freed him. Look how they soared through magic might, walking through the air with ease, as if they were walking on level ground. The prince shouted: "O look, down there is Paribanu, dressed for a celebration. Oh, she is going to be married with that hunch-backed jester! Let's go down there quickly and save her!"

Down they swooped like birds of prey, grabbing that noble girl. How they lay in each other's arms, Paribanu and Achmed!
But listen! The beating of wings, what does it mean? New dangers! Hosts of black creatures, horrible animals with flapping wings! "O Paribanu!" "These are the spirits of Wak-Wak, my home country. They will not tolerate my staying away from home, they will take me with them! O, the horror!" So the demons took to the air with their prey, and again Prince Achmed stood there alone, separated from his lover. He was furious, and in his anger he forced one of the birds to serve him. Racing after Paribanu, he saw the magic island from far away. The gate of Wak-Wak, and next to it endlessly high mountains. He flew into the gate, and through it.

Then, suddenly, the gates closed, and a voice told the Prince that he was not allowed to enter. "Have you heard of Aladin and his lamp," the voice said, "only that lamp can be your salvation!" Achmed stopped short, trying to recall what he knw about that name: Aladdin! Aladdin!

What monster is this? Many-armed, abominable! Big as a mountain! And look, there is a man in its claws! The prince took his magic weapons to kill it. He shot arrow after arrow, until it dropped dead. He asked the man who he was. It was Aladin, the man he was looking for! He told Achmed his story: "I used to live a quiet life in the caliph's city. While I was working in my workshop one day, a stranger of noble appearance came in and asked me to follow him to a place where immense treasures could be found. He lead me to a cave and bade me descend to the depths of the earth. There, between shiny stones, I found the marvelous lamp. "Give it to me, scoundrel!" the stranger shouted; he was waiting at the cave's entrance. When I refused, he left me behind in darkness and desparation. But I, lighting the lamp, became the master of its spirits. They helped me escape. They served me and did whatever I ordered them to do. I gave them the order to build a palace, more beautiful than any palace I had seen before. And before the sun set, they had accomplished that feat. I went to the caliph's daughter and led her home with me as my wife. But in the evening, everything had disappeared - she, the lover, as well as the incredible palace and, with it, the lamp.

The stranger had done that, but who was he? The great wizard!



"So I got up and fled the caliph's wrath. Travelling over the sea in a tiny boat, i got into a storm. I was whirled around, I was almost smashed against rocks, then I was thrown on the coast. I saw a tree with fruit that could help me recover. But as I reached out for it, the tree rose to the height of a mountain and threw off branches and leaves: It was a monster! That was when you found me, Prince Achmed, and when you saved me!"

When Aladdin had finished his story, the witch appeared and told them that Paribanu was in danger. She said that the spirits of Wak-Wak were revolting against her and only Aladin's lamp could save her. "So you must fight the wizard!" both Aladdin and Achmed begged her, "wrench the lamp from his hands and kill him, the villain!" Already the witch got up and wove magic circles in order to catch the wizard. Not before long he was with them, angry and raging.

Now began a fight like the earth has never seen one, never before and never after it. In a lion's shape, the wizard jumped at the witch in order to pin her on the ground, but she turned into a snake. He, however, took the shape of a poisonous scorpion, which she countered by changing into a rooster. Many shapes they turned into, but neither of them was stronger than the other. Until at last, the witch tore the fire down from the skies, engulfing the wizard in flames. He, too, had power over the flames, and threw many a fire towards her, but finally, finally he got weak and burned. The villainous enemy was destroyed! Now the lamp belonged to them.

Victory, victory! Now they had to hurry to Paribanu's rescue. Numberless were the demons that attacked them. But numberless were also the good spirits that came streaming out of Aladdin's lamp to fight them. And so the black power of the demons was broken forever that day, they fled desperately to the recesses of the earth. They were free now, all of them: Paribanu and Achmed, Dinarsade and Aladdin!

Once more they summoned the lamp's spirits and bade them carry them to the palace they had built in one night and that the wizard had whisked away from the ground. Happily the spirits obliged. Look what made them so glad, while it was flying through the air, light as a cloud, but still artfully created, with numberless galleries and stairs and proud towers. In front of them the house landed like an animal that was meant to carry their burden. They entered the palace, and it flew up again to bring them back to the caliph's city. There, they were greeted with measureless joy. How long they had been away, and what adventures their eyes had seen!

But the caliph embraced them all as his children, Paribanu the beautiful, who was now the wife of Achmed, the noble son, and Aladdin, his lovely daughter Dinarsade's husband. The caliph lifted his hands and blessed them all.

THE PLATES

Here is the balance of the plates from the 1926 portfolio of prints from Lotte Reiniger's Adventures of Prince Achmed...


17. Achmed with the witch


18. Paribanu in her wedding attire


19. The wedding procession


20. Achmed shooting the monster


21. The monster threatening Aladdin


22. Aladdin tells Achmed his story


23. The wizard calls on Aladdin in his workshop


24. The wizard leads Aladdin past the caliph's palace


25. Dinarsade, the caliph's daughter, playing chess


26. Aladdin discovers the magic lamp in the cave


27. Aladdin greets Dinarsade


28. Aladdin at sea in the storm


29. The battle between the witch and the wizard


30. The wizard and the witch fighting in the shape of a vulture and a rooster


31. Aladdin fights the demons of Wak-Wak with his magic lamp


32. The homecoming
This important film is available at Amazon... Adventures of Prince Achmed DVD

For the first part of this article, see... Reiniger's Prince Achmed Part One

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: Dan Gordon's Superkatt

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 print cartoonists.

The other day, John K posted an article in his blog about Dan Gordon. He described Gordon as a "pure cartoonist" whose characters seem really alive and motivated from within.

Gordon was an animator, story man and director on the Superman and Popeye series at Fleischer in the early 1940s. After the war, he dropped out of animation and made a living as a comic book artist, working on titles like Giggle Comics. He returned to animation in the late 1950s as a storyboard artist at Hanna Barbera, (Gordon boarded the pilot episode of The Flintstones) and on Clampett's Beany & Cecil series.

Here is an example of Gordon's work featuring Superkatt. These scans were donated to the Archive by our good friend Kent Butterworth. Thanks Kent!










For more on Dan Gordon, see Sherm Cohen's great features at Cartoon Snap.

If you enjoyed this comic, see also... Milt Stein's Supermouse Comics No. 4, Basil Wolverton's Powerhouse Pepper, and Boody Rogers' Babe Comics Part One, Part Two and Part Three.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

12.10.08
.

Stumble It!

Comics: Milton Knight's Great Brown-Pericord Motor

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 print cartoonists.

Today, we had a visit from the talented cartoonist, Milton Knight. He brought along the original boards from one of his stories for Graphic Classics series.

Milton is an amazing artist... His work is informed by a diverse variety of influences, from Japanese art to Terrytoons. His compositions and line reflect a distillation of the New York cartooning style, while still remaining uniquely his own. I can't think of a single living cartoonist whose work in any way resembles Milton's. He's truly one of a kind.

Milton kindly agreed to let us post this entire story adapted from a short story by Sir Arthur Conan Doyle...

THE GREAT BROWN-PERICORD MOTOR

















If you enjoyed this story, you can find the Graphic Classics Anthologies at Amazon. Also, make it a point to visit Milton's Website.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: Reiniger's Prince Achmed 1926

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.


If you ask the average person what the first feature-length animated film was, just about everyone will answer Walt Disney's "Snow White & the Seven Dwarfs". But Disney's film wasn't the first animated feature by a longshot. Arguably, that honor belongs to Lotte Reiniger's "Adventures of Prince Achmed".


In 1923, Reiniger and her husband and business partner, Carl Koch began work on an ambitious project... a feature length silhouette puppet film based on "The One Thousand and One Nights". She worked with animator Bertold Bartosch and background artist Walter Ruttman for three years on the film. The paper cutouts were jointed using wires and delicately arranged on top of a lightbox, where it was photographed frame by frame. Reiniger continued to animate her distinctive silhouette films up into the mid-1970s. She passed away in 1981.


Archive volunteer, Eric Graf was perusing a local library book sale when he spotted an amazing find... a portfolio of prints from Reiniger's landmark film. Published in Berlin in the year the film was released (1926), this group of images shows just how beautiful Reiniger's work was... and how unique. Eric picked up the book for the archive and brought it by today. Thanks, Eric!

Our reader, Michael generously translated the synopsis for us...


Once upon a time there was a wizard who could control all the powers and elements of the world. One day, he made a mighty flying steed out of pure will and thought. Then he took it to the caliph's palace and asked him to let him marry his daughter in exchange for the horse. The girl refused (she thought he was ugly), so the plan was dismissed, but her brother, Achmed, got angry and insulted the wizard. So the latter set up a trap for him: He offered him to have a ride on the horse to see how fast and strong it was. But as soon as he was in the saddle, the horse flew up into the sky and far away. Achmed managed at last to make it land on an island. There he found many beautiful women asking him to be their lover, but he denied as he wanted to find their queen, who - as he had heard - was a woman of exceptional beauty.


Achmed flew over the island on the magic horse and saw a lake shimmering in the night. While he was waiting there, a bird with beautiful feathers landed nearby and changed shape before his eyes: It transformed into Paribanu, the queen of the island, and she wanted to bathe there; around her were many gentle women. Achmed asked her to stay with him, but she was frightened and tried to flee; he, however, held on to her feathers and followed her through the thicket like the hunter follows the deer. He asked her to flee no longer and sat her onto the horse with him. Then they flew over numberless countries, until at last they found a lonely valley, where Achmed made a bed for her under a tree.

But in the meantime, the wizard was not idle, searching for his horse with magic webs, in which he caught the picture of the faraway valley. Then he transformed into a kangaroo, that strange jumping animal of the desert, and in the next moment he was with Achmed and Paribandu. He lured Achmed into a deep canyon, in which a horrible snake lived. While Achmed was fighting that snake, trying to save his life, the wizard kidnapped the girl and escaped with the flying horse.

In China he wanted to sell her as a slave. A very powerful emperor lived there; he had a hump-backed jester, who amused him with his pranks and his chimes. The emperor liked Paribandu and gave many sacks of treasures to the wizards for her. Big was the emperor, and fat. Beautiful he was not. When he approached Paribandu and wanted to make her his lover, she pushed him away, crying: "No, you monster!" That made the emperor angry, so he called his jester and told him: "Do with her what you want! You can kill her, but you may also take her as your wife if you want!" "Ah, marriage! We make marriage!" the hump-backed one called out and danced with joy.

Meanwhile, the wizard was flying back to the island on birds that he had made out of the sacks of gold from the emperor. On the island, Achmed was mourning the loss of his lover, but the wizard gave Achmed to those birds: They tore him away like vultures tear a corpse away. When they found a wasteland where the earth was gaping and spewing out horror, they layed him down shackled under a big rock.


A flaming abyss opened next to Prince Achmed. A hideous woman rose out of it and stepped towards him. Was she going to kill him? He walked up to her and told her who had brought him there, and that the great wizard's animals had kidnapped him. When she heard that, she shouted: "He is my enemy, let us fight him together!" She called the monsters that served her, for she was very powerful, as powerful as the wizard. She ordered them to dive into the core of the earth and fetch weapons with which they could fight the wizard. Now she was friendly to Achmed, took him by the hand and freed him. Look how they soared through magic might, walking through the air with ease, as if they were walking on level ground. The prince shouted: "O look, down there is Paribanu, dressed for a celebration. Oh, she is going to be married with that hunch-backed jester! Let's go down there quickly and save her!"

Down they swooped like birds of prey, grabbing that noble girl. How they lay in each other's arms, Paribanu and Achmed!
But listen! The beating of wings, what does it mean? New dangers! Hosts of black creatures, horrible animals with flapping wings! "O Paribanu!" "These are the spirits of Wak-Wak, my home country. They will not tolerate my staying away from home, they will take me with them! O, the horror!" So the demons took to the air with their prey, and again Prince Achmed stood there alone, separated from his lover. He was furious, and in his anger he forced one of the birds to serve him. Racing after Paribanu, he saw the magic island from far away. The gate of Wak-Wak, and next to it endlessly high mountains. He flew into the gate, and through it.

Then, suddenly, the gates closed, and a voice told the Prince that he was not allowed to enter. "Have you heard of Aladin and his lamp," the voice said, "only that lamp can be your salvation!" Achmed stopped short, trying to recall what he knw about that name: Aladdin! Aladdin!

What monster is this? Many-armed, abominable! Big as a mountain! And look, there is a man in its claws! The prince took his magic weapons to kill it. He shot arrow after arrow, until it dropped dead. He asked the man who he was. It was Aladin, the man he was looking for! He told Achmed his story: "I used to live a quiet life in the caliph's city. While I was working in my workshop one day, a stranger of noble appearance came in and asked me to follow him to a place where immense treasures could be found. He lead me to a cave and bade me descend to the depths of the earth. There, between shiny stones, I found the marvelous lamp. "Give it to me, scoundrel!" the stranger shouted; he was waiting at the cave's entrance. When I refused, he left me behind in darkness and desparation. But I, lighting the lamp, became the master of its spirits. They helped me escape. They served me and did whatever I ordered them to do. I gave them the order to build a palace, more beautiful than any palace I had seen before. And before the sun set, they had accomplished that feat. I went to the caliph's daughter and led her home with me as my wife. But in the evening, everything had disappeared - she, the lover, as well as the incredible palace and, with it, the lamp.

The stranger had done that, but who was he? The great wizard!


"So I got up and fled the caliph's wrath. Travelling over the sea in a tiny boat, i got into a storm. I was whirled around, I was almost smashed against rocks, then I was thrown on the coast. I saw a tree with fruit that could help me recover. But as I reached out for it, the tree rose to the height of a mountain and threw off branches and leaves: It was a monster! That was when you found me, Prince Achmed, and when you saved me!"

When Aladdin had finished his story, the witch appeared and told them that Paribanu was in danger. She said that the spirits of Wak-Wak were revolting against her and only Aladin's lamp could save her. "So you must fight the wizard!" both Aladdin and Achmed begged her, "wrench the lamp from his hands and kill him, the villain!" Already the witch got up and wove magic circles in order to catch the wizard. Not before long he was with them, angry and raging.

Now began a fight like the earth has never seen one, never before and never after it. In a lion's shape, the wizard jumped at the witch in order to pin her on the ground, but she turned into a snake. He, however, took the shape of a poisonous scorpion, which she countered by changing into a rooster. Many shapes they turned into, but neither of them was stronger than the other. Until at last, the witch tore the fire down from the skies, engulfing the wizard in flames. He, too, had power over the flames, and threw many a fire towards her, but finally, finally he got weak and burned. The villainous enemy was destroyed! Now the lamp belonged to them.

Victory, victory! Now they had to hurry to Paribanu's rescue. Numberless were the demons that attacked them. But numberless were also the good spirits that came streaming out of Aladdin's lamp to fight them. And so the black power of the demons was broken forever that day, they fled desperately to the recesses of the earth. They were free now, all of them: Paribanu and Achmed, Dinarsade and Aladdin!

Once more they summoned the lamp's spirits and bade them carry them to the palace they had built in one night and that the wizard had whisked away from the ground. Happily the spirits obliged. Look what made them so glad, while it was flying through the air, light as a cloud, but still artfully created, with numberless galleries and stairs and proud towers. In front of them the house landed like an animal that was meant to carry their burden. They entered the palace, and it flew up again to bring them back to the caliph's city. There, they were greeted with measureless joy. How long they had been away, and what adventures their eyes had seen!

But the caliph embraced them all as his children, Paribanu the beautiful, who was now the wife of Achmed, the noble son, and Aladdin, his lovely daughter Dinarsade's husband. The caliph lifted his hands and blessed them all.

THE PLATES




1. Achmed on the magic horse


2. At the caliph's court


3. The magic horse takes Achmed into the air with it...


4. ...so the wizard is taken prisoner


5. Achmed with Paribanu's servants


6. Paribanu flying to the forest lake in her feathery costume


7. Her nightly bath


8. Achmed following Paribanu


9. The lovers in the mountains


10. Achmed and Paribanu


11. Achmed fighting with the snake in the canyon


12. The emperor of China's jester playing the chimes


13. Paribanu is sold to the emperor


14. The emperor pressing Paribanu


15. The wizard turns the sacks of gold into birds


16. The hunchback plays the flute for Paribanu


17. Achmed with the witch


18. Paribanu in her wedding attire


19. The wedding procession


20. Achmed shooting the monster


21. The monster threatening Aladdin


22. Aladdin tells Achmed his story


23. The wizard calls on Aladdin in his workshop


24. The wizard leads Aladdin past the caliph's palace


25. Dinarsade, the caliph's daughter, playing chess


26. Aladdin discovers the magic lamp in the cave


27. Aladdin greets Dinarsade


28. Aladdin at sea in the storm


29. The battle between the witch and the wizard


30. The wizard and the witch fighting in the shape of a vulture and a rooster


31. Aladdin fights the demons of Wak-Wak with his magic lamp


32. The homecoming
This important film is available at Amazon... Adventures of Prince Achmed DVD

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Biography: Bill Tytla Part Two

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 complete the article that John Canemaker lent us to digitize. It's an article he wrote for an exhibit of artwork by Bill Tytla. If you missed the first half, you can find it at... Biography: Bill Tytla Part One.

Here is the conclusion of this fascinating article...

















If you enjoyed this article, you'll also want to check out... 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

Stumble It!

Story: Ren & Stimpy Big House Blues Seq 03

This post is just the tip of the iceberg... see The Top Ten Reasons To Support The A-HAA for more amazing animation related articles.



It's been quite a while since I posted an installment of the storyboard to the pilot episode of the original Ren & Stimpy Show, Big House Blues. ASIFA-Hollywood owes a debt of gratitude to John Kricfalusi for generously sharing this material with us. This is a fascinating look at the Genesis of one of the most successful animated TV shows of all time. If you missed it, see Part One of this storyboard and Part Two.

BIG HOUSE BLUES PART THREE


















I will be posting the last section of this storyboard soon.

For the first two sections of this storyboard, see... Big House Blues Seq. 1 and Big House Blues Seq. 2. For more Ren & Stimpy stuff, see... John K's Stimpy's Invention and our profile of Vincent Waller

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: The Temperamental Lion 1940

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.

Today, we digitized some great Terrytoons model sheets that Carlo Vinci's family loaned to us...






This one is particularly interesting to me...



...because it's from one of the very best Terrytoons of the time, "The Temperamental Lion". Connie Rasinski created the goofy Bert Lahr lion character as the "King of the Jungle" for the classic cartoon "Doomsday" (1938) as well as "The Nutty Network" (1939). The model was adapted a bit in the late 1940s for "The Lyin' Lion", a film that includes some funny Jim Tyer animation...


...but the character was never better animated than he was by Carlo Vinci in this short... Check out his great scene of the lion singing!







The Temperamental Lion (Terry/1940)
(Quicktime 7 / 14.5 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.

Many thanks to the Vinci family for sharing their treasures with us!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

11.18.08
.

Stumble It!

History: Nat Falk's How To Make Animated Cartoons Part Three

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 info on the history of animation told through the careers of great animators.



Today, we continue with the next chapter from Nat Falk's "How To Make Animated Cartoons". This section details the production process, including great pictures and artwork from Terrytoons in the late 30s. If you missed the first chapter of this rare book, see... Nat Falk's History of Animation. The second chapter is The Top Seven Animation Studios.



















For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History Of Animation, Part Two: The Cartoon Studios Part Four: How To Draw Cartoons and Part Five: How To Animate.


Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Illustration: Mary Blair Song Book Part Three

This post is just the tip of the iceberg... see reason number 3 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about 50s children's book illustrators.



Today, we continue digitizing Mary Blair's "New Golden Song Book" from 1955. If you missed the first two parts of this book, see Mary Blair Song Book Part One and Part Two.



Click on the image for a full size view.

















If you missed the posting of the first part of this book, see Mary Blair Song Book Part One and Part Two.

For more beautiful illustrations by Mary Blair, see... Little Verses Part One, Part Two, and Baby's House.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: Bambi

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.

Archive supporter, Mark Kirkland stopped by the other day with his collection of artwork from Bambi. It's a nice overview of the film... color keys, animation drawings, model sheets. Many thanks for sharing these with us, Mark!







Bambi's Father
Animation Drawing by Milt Kahl


Bambi's Mother
Animation Drawing by Frank Thomas


Model Sheet by Marc Davis



Character Design by Marc Davis


The wonderful thing about our digital archive is that it allows collectors to share their treasures with the world. If you have artwork you would like to loan us to be digitized, please stop by for a visit.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

11.03.08
.

Stumble It!

Biography: Bill Tytla Part One

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.

John Canemaker lent us a copy of an article he wrote for an exhibit of artwork by Bill Tytla. Tytla was a giant among animators, known for his solid, dimensional drawings and convincing depiction of weight and mass.

Here is the complete article...


































If you enjoyed this article, you'll also want to check out... 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

10.23.08
.

Stumble It!

History: Nat Falk's How To Make Animated Cartoons Part Two

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 info on the history of animation told through the careers of great animators.

Today, we continue with the next chapter from Nat Falk's "How To Make Animated Cartoons". This section is an overview of the seven major cartoon factories of the late thirties. If you missed the first chapter of this rare book, see... Nat Falk's History of Animation.










For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History Of Animation, Part Three: How Cartoons Are Made Part Four: How To Draw Cartoons and Part Five: How To Animate.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Story: Walt's War

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 info on the history of animation told through the careers of great animators.

Here's a fascinating article from Life magazine on the Disney Studios during the wartime years...











Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

10.21.08
.

Stumble It!

Biography: Carlo Vinci

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 only get information about animators from books on the history of animation, you might think that the Warner Bros directors and the "Nine Old Men" were the only important figures in the development of animation. But there are many books yet to be written about unknown artists whose achievements are right up there with the more familiar names.

Take for instance, Carlo Vinci...



Carlo Vinci's career spanned half a century. He received many honors as a fine artist before joining the staff of Terrytoons in 1933. For the next two decades, he was one of their top animators, specializing in dancing scenes...


Click to see a larger view.
John Kricfalusi describes Vinci's style as being as if Carlo invented animation himself, having never seen anyone else's animation. He was the master of the basic principles we read about in the Preston Blair book or Illusion of Life, but as you watch Vinci's syncopated, sinewy dancing scenes, you have to wonder if he didn't have a few extra principles of his own!

Carlo left Terrytoons and moved West to join his old friend Joe Barbera at MGM in the mid 50s, but soon after he arrived, the studio closed down. Joe Barbera got him a job at Disney, where Carlo animated on the Disneyland TV program. His pace was so fast, he was told to slow down, because he was producing so much quality footage, he made the rest of the animators look bad.



When Hanna and Barbera opened their own studio to produce TV cartoons, Vinci was one of the first three animators hired. He reinvented his style to work within the constraints of television schedules and budgets on shows like Ruff & Reddy, Huckleberry Hound, and Yogi Bear; but he really made his mark on The Flintstones. Every six weeks, Vinci animated an entire 24 minute episode of The Flintstones by himself!

Carlo retired at the ripe old age of 72, and passed away in 1993. We are very fortunate to have the assistance of his family in compiling a biopedia entry on his career. It includes photos, frame grabs, notes by John K and Joe Barbera, and movie files of his great film, "Mighty Mouse In Krakatoa" as well as clips from The Flintstones. Check it out...

Carlo Vinci Biopedia Entry

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Illustration: Mary Blair Song Book Part Two

This post is just the tip of the iceberg... see reason number 3 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about 50s children's book illustrators.



Today, we continue digitizing Mary Blair's "New Golden Song Book" from 1955. If you missed the first part of this book, see Mary Blair Song Book Part One and Part Three.














If you would like to see more from this beautiful book, please let me know in the comments below.

If you missed the posting of the first part of this book, see Mary Blair Song Book Part One and Part Three.

For more beautiful illustrations by Mary Blair, see... Little Verses Part One, Part Two, and Baby's House.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Media: Two More Playboy Cartoonists

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 more great pinup art.


Roll me over, in the clover...
We continue to work on scanning cartoons from Chad Coyle's wonderful collection of vintage Playboy magazines. Previously, we featured Erich Sokol and Eldon Dedini. Today we focused on Doug Sneyd and Phil Interlandi.

While both have strong, clear compositions, their rendering styles are quite different. Sneyd used layers of watercolor washes and delicate transparancies to create depth, while Interlandi slashed out his forms and textures with a bold, confident style. When you see the cartoons interspersed in the magazine, you might not realize how different each artist is, but when you see the cartoons grouped together by artist, you can really get a feeling for their individual style.

DOUG SNEYD

Can I stay and help you clean up the mess?


You came highly recommended, but I had no idea...


And this time, be more careful!


I won't be bothering you and Pop
with any more embarassing questions!


He wants to know if we make deliveries.


PHIL INTERLANDI

We changed our minds!


He'd rather fight than switch.






You have a dirty mind. I like that in a man.


Daphne! Get your butt in here!


The starter is fresh!


All I could get out of him was name, rank and serial number...
and an ingenious American invention called a "quickie".


Pay attention, damn it, pay attention!

For more info on the great cartoonists who worked for Playboy in the 1960s, see our posts on... Erich Sokol and Eldon Dedini.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

10.13.08
.

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Media: Erich Sokol's Playboy Cartoons

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 more great pinup art.


Well, I'm glad she's finally getting interested
in something besides running around with boys.
During the 1960s, Playboy magazine employed some of the best cartoonists around at the time... Eldon Dedini, Gahan Wilson, Phil Interlandi, Jack Cole, Doug Sneyd and Erich Sokol. Archive volunteer, Chad Coyle brought a stack of 1960s Playboys by to be digitized, and there's a wealth of great stuff in them. Today, the Sokols...

Well, how do you like married life so far?


I came up to complain about the noise.


What the hell kind of pacifist are you?


Take off your clothes... take off your clothes!
My goodness, don't men ever think about anything else?




Mother will be disappointed if you don't come in for at least
a few minutes, George. She's expecting to meet you tonight.


You got the part.
Now would you care to try for an Academy Award?


You're welcome.


You were wrong.... I'm NOT old enough to take care of himself.


I believe the new nurse is going to do wonders for him.
He's already learned to count to two...




Tuck my shirt into WHAT shorts?


Why don't you bug out now and I'll call you Friday.
If you enjoyed this post, check out these articles... Early Erich Sokol Cartoons, A Passel Of Sokol, Jack Cole And Other Great 50s Playboy Cartoonists, Little Annie Fanny Takes A Trip, Kurtzman & Elder's Little Annie Fanny, More Little Annie Fannie, Kurtzman Comic Books, Biography: Jack Davis, Eldon Dedini Part One and Part Two (video interview!), Doug Sneyd and Phil Interlandi, Early Interlandi Playboy Cartoons and Meet Doug Sneyd.


Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

5.28.08
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