Tuesday, June 30, 2009
Education: John K and Preston Blair's Drawing Course

From Tim Rudder's Blog
Just a reminder that folks are still studying John Kricfalusi's notes on Preston Blair's Animation. If you want to sharpen your chops and you're looking for a project to keep you busy this Summer, check it out...
Animation Drawing Course based on the rare first edition of Preston Blair's book Animation
John Kricfalusi's Blog, John K Stuff
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Labels: education, john k, john kricfalusi, preston blair
Thursday, November 06, 2008
Education: How To Be A Cartoonist In 16 Easy Pages
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.

Yesterday, Archive Supporter Sherm Cohen stopped by with a contribution for our collection of vintage cartooning courses. It's hard to imagine packing a whole course in cartooning into sixteen 4x6 inch pages, but this pamphlet from WWII attempts to do just that. There's plenty of GI type humor in here... I'm sure the suggestion to sketch the anatomy of the men in the shower was made with tongue firmly planted in cheek! There's a lot of fun drawings in here. Enjoy!
















Thanks, Sherm for sharing this with us!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
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Labels: cartooning, education, instruction, war
Tuesday, May 20, 2008
Education: The Zim Course in Cartooning, Comic Art and Caricature
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 cartoonists.

A few months ago, I stumbled across a "how to" book on cartooning by Eugene "Zim" Zimmerman. It was titled Cartoons and Caricatures, or Making the World Laugh. I happened to be speaking on the phone to Ralph Bakshi, and I mentioned the book. "Ooooohh! So you've discovered ZIM now! He's one of my secrets..."
In 1967, right after he had resigned as the head of the Paramount cartoon studio, Ralph and his wife Liz were walking through Brooklyn when they saw a sign on an old house advertising an estate sale. They went inside, but it was late in the day and there wasn't much left. Ralph glanced up at a tall bookcase and saw a pile of pamphlets stacked up on a high shelf. It was too high to reach, so he didn't bother to look at them. As they were walking out the door, he got the feeling that he needed to go back and look at the pamphlets. It was a good hunch. The stack contained a nearly complete set of Zim's correspondence course in cartooning. He asked the estate agent how much they cost, and was told $50. That was more than he and his wife had in their pockets, so Liz volunteered to run home and get the money. The Zim books were on his desk every day throughout the production of Fritz the Cat, Heavy Traffic and especially Coonskin. This set is Ralph's most prized possession, and now he is sharing them with the ASIFA-Hollywood Animation Archive.

Zim's correspondence course was the most highly regarded cartooning course of its day. Spanning 20 volumes, it covered a wide range of subjects, from practical homespun advice to lofty philosophy. Here are some examples of Zim's genius from the pages of the four volumes we completed digitizing today...

The course originally ran in 20 volumes. We have been able to find an earlier edition of the course to supplement and complete Ralph Bakshi's set. There aren't chapters or specific assignments. The books consist of page after page of individual nuggets of wisdom. Each book and each page stands on its own.


Zim's course is much more than just a "how to draw" course. In short anecdotal paragraphs, Zim succeeds in conveying what it means to be a cartoonist... the history behind the artform... how to deal with everyday problems and setbacks... and how to live the life of an artist.

There's plenty of drawing lessons too. Zim's masterful expressive line fills every page with perfect examples of the principles he is discussing.

Zim was the founder of the "grotesque" school of caricature, which formed the basis of what we now call "cartoony drawing". He provides lots of examples of caricatures drawn from life, with photos of his subjects alongside his caricature of the person.

Zim's technical skill was unmatched. Just look at the amazing precision and expressiveness of this drawing as he takes it from rough sketch to ink to watercolor.

The book is full of amusing contrasts. A tip on not thinning your ink too much leads into a speculation on what Rembrandt would be doing if he lived in modern times.

If you aren't convinced yet that Zim is a drop dead genius, just click on this image!

The most impressive illustrations in the course are the examples of Zim's rough sketches. He had an uncanny knack for being able to express every nuance of his subject with a free flowing and loose pencil technique.

He was capable of extreme exaggeration that captured the essence of the unique qualities of the personalities he chose to caricature.

But the most amazing thing about Zim's artistry was his ability to draw the viewer into his world and make them feel the way the characters in the drawings feel. Look at these sketches of dogs... They make you feel like a flea bitten hound!
If you would like to see more from the Zim course, let me know in the comments.
If you found this post to be interesting, see more great educational material by Zim... Cartoons and Caricatures and How To Draw Funny Pictures.
Also see... W. L. Evans Cartooning and Caricature Course Brochure, Lesson One and Lesson Two, Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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, Willard Mullin on Animals.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: caricature, cartooning, correspondence, course, donate, education, zim
Wednesday, April 23, 2008
Meta: Meet David Chai's Students
Today I got a letter from a group of students from the San Jose State School of Art and Design. They've been following our progress on the website, and stopped by on a recent trip to LA to see what we were up to...


These kids are on fire for the artform and they've got a great instructor pointing them in the right direction. They're going places.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
P.S. Also in the photo on the left of me are Assistant Archivists Kelsey Sorge-Toomey and Alex Vassilev, and over my shoulder on the right is my right hand man, JoJo Baptista. They're from the Animation program at Woodbury and they're going places too!
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Thursday, March 20, 2008
Cartooning: How To Draw Funny Pictures
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 cartoonists.

Last week, I discussed Zim's Cartoons and Caricatures. Here are some more examples of the genius of Zim from another vintage "how to" book... How To Draw Funny Pictures by E.C. Matthews. This chapter deals with a topic that is widely discussed today, racial stereotyping.
Ethnic humor was Zim's stock-in-trade. He once joked that he and his fellow cartoonists at Puck magazine treated the various races and creeds that made up America with gloves... the kind boxers wear. Perhaps this is why he is virtually unknown today. But it's unfair to sit like an armchair quarterback a century later judging an entirely different time by our own standards. Zim approached every person as a peer. He made fun of all of them equally.
Stereotypes are still part and parcel of caricature and cartooning. Pirates have eye patches and parrots on their shoulders. Surfer dudes wear baggy shorts and have long blonde hair. These are the generally understood symbols that represent specific types of people. How does a cartoonist utilize these common perceptions to communicate clearly while still remaining honest? Here is an important first-hand document of how Zim himself explained the purpose and limits of ethnic caricature in the "melting pot" of the early 1920s.














Take note of this advice from the conclusion of this chapter...
Greatness makes one tolerant. Great men are not ashamed to stop on the street and talk to the man in overalls. They recognize the bond of friendship between the common people and themselves. The social sheik who feels above talking to a mere laborer is fooling only himself.
Take this little sermon to heart and treat every man as your equal; it will help you get ahead. How truly the Bible says, "The greatest among you shall be the servant of all."
If you found this post to be interesting, see the... W. L. Evans Cartooning and Caricature Course Brochure, Lesson One and Lesson Two, Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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, Willard Mullin on Animals.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: caricature, cartooning, donate, education, stereotypes, theory, zim
Saturday, March 08, 2008
Cartooning: Zim's Cartoons and Caricatures
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 cartoonists.

Eugene "Zim" Zimmerman was born in 1862 in Switzerland, and his family emigrated to the United States when he was seven. As a poor immigrant, Zim witnessed the "melting pot" of American culture first hand. His depictions of ethnic minorities were pointed, but honest and well observed. Although he is pretty much forgotten today, he was very well known in his time, and his humor captured the essence of turn-of-the-century America.

Zim was the founder of the so-called "Grotesque" school of caricature, and was the first caricaturist to incorporate exaggerated cartooniness not only in the faces of his subjects, but in the bodies as well. Zim worked for Puck and Judge, the two top humor magazines of their day. Along with caricatures by George McManus and Frederick Burr Opper, Zim's caricature of a moon faced grinning kid (an example of which appears on page 3 of this book) was said to be one of the earliest inspirations for Mad magazine's mascot character, Alfred E. Neuman.

Zim was a prolific artist, with more than 40,000 illustrations published in his lifetime. He retired from Judge in 1897 and founded the American Association of Cartoonists and Caricaturists. He was also a writer and teacher. His columns ran in Cartoons magazine during the early years of the century, as did ads for his correspondence course in cartooning.

Archive supporter Marc Schirmeister has been searching high and low for a copy of Zim's early educational materials with no luck. But recently this 1910 book, packed with tips for the aspiring cartoonist, turned up in a used bookstore in Arizona...

It's worth noting that the price tag on the cover is an important clue to the value of these lessons to contemporary artists. According to the Consumer Price Index, $5 in 1910 is equivalent to $116 today. Five dollars represented a full day's labor to many of the cartoonists who bought this book. Zim's name in gold letters on the cover was the selling point that made so many aspiring cartoonists part with the "five plunks (in real Money)" as Zim so colorfully puts it in his introduction.

These 100 pages are packed with great cartoons, helpful drawing tips, technical information and business advice for the aspiring cartoonist. Most importantly, Zim passes along his unique philosophy of life, and offers a shining example of how an artistic career as a caricaturist can be incorporated into a person's lifestyle. At the time this book was written, Zim had thirty years of experience under his belt, and had attained the highest level in his field.
Here are just a few choice snippets from this great book...




Guess who?
If you are a fan of caricature, check out Will Finn's latest post and the blog of my favorite caricaturist, Marlo Meekins.
If you found this post to be interesting, see the... W. L. Evans Cartooning and Caricature Course Brochure, Lesson One and Lesson Two, Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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, Willard Mullin on Animals.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: caricature, cartooning, correspondence, course, donate, education, zim
Wednesday, January 23, 2008
Education: W L Evans Course Brochure
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 instructional material.

We received a surprise in the mail today- a gift from archive supporter, Mark Anderson. Mark is a magazine and greeting card cartoonist who lives in the Chicago area. He ran across a treasure in his travels, and picked it up to donate to the collection of the ASIFA-Hollywood Animation Archive. It's a promotional brochure advertising the W. L. Evans Course in Caricature and Cartooning. Shaped like a miniature artist's portfolio, and packed with great vintage cartoons and sales information, this brochure completes our collection of the W. L. Evans Course.
You might remember that we posted a couple of lessons from this series late last year. (Lesson One and Lesson Two) A complete set of lessons was donated by Marc Schirmeister. This brochure completes the set and this wonderful collection will now find a place of honor in our museum. Many thanks for thinking of us, Mark and Marc!
Promotional Brochure






A cartoonist is a power. His audience is the boundless public. He is talked about. His work is admired in society. He meets the most prominent people, and becomes personally acquainted with them. He is a critic of the world's happenings.
And he receives a large salary for his work.










If you found this post to be interesting, see... The W. L. Evans School of Cartooning and Caricaturing Lesson One and Lesson Two
Also see... Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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, Willard Mullin on Animals.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: cartooning, cartoonist, correspondence, course, education, w l evans
Saturday, December 29, 2007
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

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
.
Labels: 2007review, art, biography, carlo vinci, cartoons, education, painting, terrytoons, theory
Tuesday, December 18, 2007
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

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.



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.


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.














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
.
Labels: art, biography, carlo vinci, cartoons, education, painting, terrytoons, theory
Friday, November 23, 2007
Education: W L Evans Course 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 art instructional material.

Lesson Two











STUDENTS: Print this stuff out and USE IT!
If you found this post to be interesting, see... The W. L. Evans School of Cartooning and Caricaturing Lesson One
Also see... Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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, Willard Mullin on Animals.
Many thanks to Archive supporter, Marc Schirmeister for sharing this with us.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: cartooning, cartoonist, correspondence, course, education, w l evans
Thursday, October 25, 2007
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 contributed pretty girl cartoons to Pictorial Review, Esquire, Liberty and The New Yorker.



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 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 contributed images to Pictorial Review and The Saturday Evening Post.


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


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.

By Don Herold




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
Labels: cartooning, cartoonist, cartoons, comic strips, comics, Complete Guide To Cartooning, drawing, education, instruction, jan balet, magazine, roy doty
Friday, August 31, 2007
Design: John K On Character Design
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.

Click for more great designs by John K.
Today, John Kricfalusi has posted another great article on his blog, All Kinds of Stuff. You owe it to yourself to check it out. If you're a student, you'd be smart to print articles like this out and organize them in a binder for easy reference.
ALL KINDS OF STUFF: CHARACTER DESIGN PRIMER
Another example of how blogging is changing the face of animation.
Thanks, John!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: character design, design, education, john k, john kricfalusi
Tuesday, August 28, 2007
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
Labels: art, biography, carlo vinci, cartoons, education, painting, terrytoons, theory
Wednesday, August 15, 2007
Life Drawing: Pogany's Sketchbook
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.

Drawing is a language, and it requires building a vocabulary to be eloquent. Students should carry a sketchbook with them wherever they go and draw everything they see- from people's heads in a late night coffee shop to fireplugs on the street. Everything you draw becomes part of your dictionary of imagery in the future.
Cartoons are about things that aren't real- pure imagination. But even here, it's important to have balance... A friend of mine, Louise Zingarelli once told me, "You can't draw crazy things until you can draw perfectly straight. Wonky perspective all over isn't weird or interesting- it's just ugly and dumb. You've got to have both, working right against wrong... just like working warms against cools in colors."
Recently, we featured the book, Willy Pogany's Drawing Lessons. Pogany was a children's book illustrator who specialized in fantasy subjects. At the end of the book, after the lessons, he presents a selection of his work sketches. Pogany was particularly eloquent, with a huge library of shapes and forms in his head. He also had an amazing sense of balance- making the fantastic seem real. This is truly great draftsmanship.

















If you found this post to be useful, see Willy Pogany's Drawing Lessons Part One
For more art instruction posts, see The $100K Animation Drawing Course, Fundamentals of Composition Part One and Part Two, Chad's Design for Television, Willard Mullin on Animals, Incorporating Natural Forms- Haeckel's Artforms in Nature, and Originality vs Imitation: Chaplin's Shadow.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: drawing, education, fantasy art, figure drawing, instruction, lesson, life drawing, willy pogany
Thursday, August 09, 2007
Education: W L Evans Cartooning And Caricaturing Course 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 art instructional material.

I don't normally post twice in the same day, but today is special. Cartoonist, Marc Schirmeister stopped by to donate the granddaddy of all cartooning courses to the archive- a stack of 19 mail order cartooning lessons by W. L. Evans.
In 1913, Elzie Segar, aged 18 began a correspondence course headed up by the Cleveland Leader cartoonist, W. L. Evans. The course cost a dollar per lesson and it took Segar a year and a half to complete the 20 lessons. By 1917, he had landed a job penning the "Charlie Chaplin Comic Capers" and "Looping the Loop" strips. In the ad above, Segar is quoted as saying, "I'm getting along fine, and it's all your fault."

Here is the first lesson that got these great cartoonists started on their career path. If there is interest, I will post more of this landmark course.











THE PLATES



STUDENTS: Print this stuff out and USE IT!
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 and Part Six: Magazine Cartooning; 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.
Labels: cartooning, cartoonist, chester gould, correspondence, course, education, segar, w l evans
Saturday, July 21, 2007
Life Drawing: Willy Pogany's Drawing Lessons
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.

Willy Pogany was one of the most important book illustrators and designers of the first half of the 20th century. His Rime of the Ancient Mariner and books based on Wagnerian opera are masterpieces, to say nothing of his editions of Mother Goose, Alice in Wonderland and Faust. While other illustrators were confining themselves to an occasional tipped in plate buried among page after page of identical text blocks, Pogany broke the mold, designing elaborate pen and ink illustrations that surrounded the text, ornate capitals for the beginning of each page and calligraphy that turned the words into art. He is probably the artist most responsible for establishing what we think of as modern children's book illustration.

He was also an author and teacher, with three books covering drawing, oil painting and watercolor. Today, I am presenting a section from his book Willy Pogany's Drawing Lessons titled...

One of the most fascinating subjects to draw is the human figure.
The fine proportions, beautiful modeling and delicate balance, and the infinite variations in movement and repose are such that there is no other living thing to compare with it.
Through countless ages artists of all races have drawn, painted and modeled the human form.

If you have never done any figure drawing, I would suggest that you start to draw the human figure in its simplest pose with little or no foreshortening. This is an upright standing position with arms close to the body and feet together.
Make up your mid before you begin, how large you want your drawing to be and mark on the paper the total length desired. Your drawing must be exactly the size that you have indicated on your paper.
Your next step is to draw a straight vertical line connecting the two marks. This will indicate the imaginary line of gravitation running from head to foot.
Now mark the center of the body by dividing the vertical line into two equal parts. Mark your proportions.
Draw in the oval of the head.

Measure the width of the shoulders compared to the length of the body. Draw in the shoulder line. Do the same with the hips.
To measure, use a pencil in your outstretched hand, first getting the width, then measuring vertically the number of times the width goes into the total length of the body. Now proceed to draw the masses of the chest, hips, legs, etc.

To check on your drawing, watch the shape of the background that surrounds the figure. See if these "left spaces" (or negative shapes) correspond with the outline of your drawing.
For instance, whatever the position of your subject, watch the shape and size of the space between the arms and the body; between the tilted head and the shoulder; between the two legs, etc, etc.
These will be your left spaces. Special attention to them will be of great help in making a correct drawing.













Drawing is a language, and it requires building a vocabulary to be eloquent. Students should carry a sketchbook with them wherever they go and draw everything they see- from people's heads in a late night coffee shop to fireplugs on the street. Everything you draw becomes part of your dictionary of imagery in the future.
Cartoons are about things that aren't real- pure imagination. But even here, it's important to have balance... A friend of mine, Louise Zingarelli once told me, "You can't draw crazy things until you can draw perfectly straight. Wonky perspective all over isn't weird or interesting- it's just ugly and dumb. You've got to have both, working right against wrong... just like working warms against cools in colors."
Willy Pogany was a children's book illustrator who specialized in fantasy subjects. At the end of the book, after the lessons, he presents a selection of his work sketches. Pogany was particularly eloquent, with a huge library of shapes and forms in his head. He also had an amazing sense of balance- making the fantastic seem real. This is truly great draftsmanship.

















For more art instruction posts, see The $100K Animation Drawing Course, Fundamentals of Composition Part One and Part Two, Chad's Design for Television, Willard Mullin on Animals, Incorporating Natural Forms- Haeckel's Artforms in Nature, and Originality vs Imitation: Chaplin's Shadow.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Labels: drawing, education, figure drawing, instruction, lesson, life drawing, willy pogany
Saturday, July 14, 2007
Drawing: John K Advice Letter and Eddie's Boney Finger

Good drawing is more important than anything else in animation. More than ideas, style, stories. Everything starts with good drawing. -- John K
I remember when we were hot in production on the George Liquor web cartoons at Spumco in 1998, a package came in the mail from a kid who was a fan of the Spumco website. He sent some of his own comics and funny drawings, so I took them to John K to look over. John took time out to sit down and carefully compose a letter back to the kid, giving him many of the same tips he shares with you in the $100K Animation Drawing Course here at the Archive.
Almost a decade has passed and that kid has grown up and is attending Sheridan College studying to be an animator. His name is Amir Avni. Amir posted the letter that John sent him in the hopes that it can help others like it helped him.
Toonamir: Time to give a lil' sumpin' back
It's a good week for advice for animation students, cartoonist Eddie Fitzgerald throws his hat in the ring in his inimitable style...

Uncle Eddie: THE DIRTY OLD BONEY FINGER
Read the comments on Eddie's post too.
See also... The $100K Animation Drawing Course and Will Finn's Letter From Ward Kimball.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.
Labels: advice, drawing, education, john k, john kricfalusi, lesson
Thursday, June 28, 2007
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...
Introduction by Charles D. Rice

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.


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


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





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.




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

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 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'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
Labels: cartooning, cartoonist, cartoons, comic strips, comics, Complete Guide To Cartooning, drawing, earl oliver hurst, education, fred cooper, gluyas williams, instruction perry barlow, magazine
Monday, April 30, 2007
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...
Introduction by Gene Byrnes

"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




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


"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'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, 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'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


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

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
Labels: cartooning, cartoonist, cartoons, comic strips, comics, Complete Guide To Cartooning, drawing, education, george clark, howard brodie, instruction, kley, sketching
Wednesday, April 18, 2007
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.

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.
By C. D. Batchelor








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.


By Whitney Ellsworth




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
Labels: cartooning, cartoonist, cartoons, comic strips, comics, Complete Guide To Cartooning, editorial cartoons, education, instruction
Tuesday, April 03, 2007
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 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.


The Neighbors

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."


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."


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.


Believe It Or Not


PAP








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
Labels: cartooning, cartoonist, cartoons, comic strips, comics, Complete Guide To Cartooning, education, george clark, howard brodie, instruction, lichty, pap, robert ripley, sports, willard mullin
Friday, March 16, 2007
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.
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.

on EDITORIAL IDEAS


By Sam Cobean


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.






Featuring Chic Young & Hal Foster






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
Labels: cartooning, cartoonist, cartoons, chic young, comic strips, comics, Complete Guide To Cartooning, education, hal foster, ideas, instruction
Tuesday, March 06, 2007
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

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.
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.


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.


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.




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 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.

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.



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
Labels: Al Capp, Alex Raymond, cartooning, cartoonist, cartoons, Complete Guide To Cartooning, education, Gene Byrnes, instruction, Jefferson Machamer, Milton Caniff
Friday, March 02, 2007
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.


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
.
Labels: animal, animation, bambi, cartoons, clair weeks, education, instruction, studies
Friday, February 16, 2007
Education: $100,000 Drawing Course Update
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.

Kevin Langley's Screwy Sketchblog has pictures of how he printed out and bound the instructional texts we've posted.
It's been about nine months since we started the $100,000 Cartoon Drawing Course. That's long enough that you should be seeing a night and day improvement in your work.
Link to a few of your "Before and After" pictures in the comments below, and let's see how you're doing...
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Labels: course, drawing, education
Monday, January 15, 2007
Meta: The $100,000 Animation Drawing Course- Lesson 10
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, and Lesson Nine
LESSON TEN
Read John Kricfalusi's introduction to this lesson at...
Animation School Lesson 10A: Model Sheets
Animation School Lesson 10B: Substance and Style
Print out and refer to these pages from the Preston Blair book, keeping in mind the following concepts...

LINE OF ACTION

FLUID POSES

CLEAR SILHOUETTES - NEGATIVE SHAPES

APPEAL & CUTENESS

And print out and draw from the model sheets on these pages that John uses as examples on his blog...

Reluctant Dragon Model Sheets

Model Sheets by Hurter and Thorson

Mice and Duck Model Sheets

More Disney Model Sheets

Terrytoons Model Sheets

Berny Wolf's Iwerks Model Sheets
When you are satisfied with your drawings, post them on your blog.
PLEASE NOTE: The procedure for getting your blog listed on this page has changed. Due to the overwhelming response to this course, I don't have time to add each student's link by hand. Your assignment will be automatically linked at the bottom of this page if you...
- Click on "links to this post" at the bottom of this posting.
- Click on "create a link".
- Copy and paste the HTML code into your completed assignment for lesson number 9.
- Publish your post.
Your page will automatically be added to the list of links.
Do not delete or edit your posts or change the title after you have posted them. You will need them later to chart your progress.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Labels: course, drawing, education
Wednesday, April 19, 2006
Media: Chad's Design For Television (1960)
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.

Founded by Norman Rockwell in the early 1950s, Famous Artists had three courses... Painting, Illustration/Design and Cartooning. Each course consisted of 24 lessons in three oversized binders covering a wide variety of subjects. Each month, a new lesson would arrive in the mail. The student would read the program material, complete the assignment, and mail it back to the school, where a professional artist would critique it and offer suggestions.

There were two editions of the Famous Artists Courses. The first was published in the early fifties, and the second was published almost 10 years later. There were differences between the two, especially in the Design/Illustration course. A concluding chapter written by the cartoonist known simply as "Chad" was added in the second edition. It deals with design for television.

The ASIFA-Hollywood Animation Archive is fortunate to have a complete set of the Famous Artists courses, and we began digitizing them for inclusion in the database today. The first article we scanned was Chad's introduction to the TV design chapter, and his discussion of the storyboard. These scans are quite large, but the size was necessary to clearly reproduce the text and details in this fascinating article. I hope you find them useful.











"In this ever-growing field of television, the visual language is supreme, and the artist is the king. So far, there are no famous artists in this young medium. Maybe you will be one of them." --Chad (1960)
The Famous Artists school is still in operation. Visit their website at www.famous-artists-school.com.
If you found this post to be interesting, see more great educational material in our collection... Willard Mullin on Animals, ZIM's Cartoons and Caricatures and How To Draw Funny Pictures, W. L. Evans Cartooning and Caricature Course Brochure, Lesson One and Lesson Two, Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); 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.
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
7.3.08
.
Labels: commercial, education, famous artists































