Here's some animation drawings from a project I was developing that was inspired by Blake Edwards Classic Comedy 'The Great Race'. I went as far as animating a couple of scenes to some funny dialogue based off of Jack Lemmon's Comic creation from the movie. I was proud of the way it turned out and it came across as funny when completed. Unfortunately, it didn't go anywhere beyond these two scenes; mainly because Hanna/Barbera had already created a show that was inspired by this movie in the 60's called 'The Wacky Races' and the other wide spread belief that these characters weren't considered marketable/relatable to the small fry in the audience (which seems to be a necessary element in today's market). Now don't get me wrong, when I was a kid I loved The Three Stooges, Laurel and Hardy and many other things that in today's world aren't considered kid relatable. Well, when I was watching these things, I was looking for the sheer fun and entertainment value! It never bothered me that these characters were adults because they acted kid-like and did funny and goofy things! It didn't seem to concern other youngsters either. The fact is that many other kids loved this stuff too!
When I finally landed a job in the animation industry, I ended up meeting and working with a lot of people who had created animated cartoons that I had grown up on. While not household names, they were very familiar to me from seeing their credits on various cartoon shorts or shows over the years. I ran into some of these people at Warner Bros Animation. People like Gerald Baldwin, who had worked on UPA and Jay Ward productions product and had created a sequence that I truly enjoyed from Mr. Magoo's Christmas Carol. Art Leonardi, who worked as an animator on late 50's/Early 60's Warner Bros.Cartoons and became a jack of all trades with Friz Freleng on Pink Panther and Ant & The Aardvark cartoons. Tom Ray, a veteran animator from MGM and Warner Bros cartoons, would later work for Chuck Jones 'How The Grinch Stole Christmas' and 'Horton Hears A Who!'. Of course, there were many others, some of which I was surprised were still alive and actively working in the animation industry.
People like Alex Lovy, a longtime Lantz Director, who later worked on Hanna Barbera cartoons, Norm McCabe, an animator and Director of Looney Tunes from the late 30's thru early 40's,
and Charlie Downs, who started at Disney and worked on many of Ward Kimball's projects at the studio.
When I was working for Don Bluth on The Troll In Central Park in the early 90's. The studio was going through a difficult time with Goldcrest, the movie company that was funding the Troll movie. Apparently, Goldcrest had a new management team and they weren't pleased with the Bluth product (more on that in a future post).
Fortunately, the Bluth unit in Burbank had a special projects division that had just completed the character animation for a ride at Universal Studios called The Fantastic World Of Hanna Barbera and was now embarking on a new project for a theme park attraction in Japan.
One day, I had noticed an older gentleman in a corner of the studio who was toiling away on color keys for the new project. I went to introduce myself and he told me his name was Walt Peregoy.
Peregoy, a superior talent, had painted backgrounds for Disney's Sleeping Beauty, 101 Dalmations, Sword In The Stone and had designed the backgrounds for Hanna Barbera's late 60's/Early 70's product.
He eventually returned to Disney to work on projects for EPCOT center.
It was pretty much known in the business, even back then, that Peregoy was a volatile individual and wasn't afraid to voice his opinion about things. I didn't care much about that; I was in awe of being in his company. Every other day I would drop by talk to him a bit and would salivate at his beautiful paintings. He was 64 years old at the time. I developed a friendship with Peregoy while working at Bluth studios and got to hear plenty about Walt Disney (not all good things either from Peregoy's perspective!).
It still strikes me as a surreal experience that I got to work side by side with people who made the cartoon films that I grew up on.
Above, is a film that was featured on the old Disney TV show called Four Artists Paint A Tree. Walt Disney introduces four of his artists; Walt Peregoy, Marc Davis, Eyvine Earle and Josh Meador. Years before I met Peregoy, I actually saw this film in High School. It's good stuff! Enjoy!
I had just wrapped up animating duties on a television series called 'Slimer and the Ghostbusters' for DIC Enterprises back in 1989. These were cartoony segments where I was able to animate scenes with some full animation and cartoony poses. I was out of work and had just got married; not a good combination.
I had recently submitted my portfolio to Disney studios and was waiting for some sort of response. In the meantime, Bill Hanna of Hanna/Barbera Productions got my number from someone who labeled me as a hot talent and called me regarding a position as an animator on Jetsons: The Movie. I met with Mr. Hanna, accepted the position and was fired within a week. (More on that hilarious story in an upcoming post). The reason for the sacking was that I was assigned to a Rosie The Robot scene and Mr. Hanna was quite upset with the animation. "She moves too much!" he kept saying. (Really, no joke.) That may explain why the studios' product was so limited in movement as Mr. Hanna liked it that way. Actually, I was really proud of the work I had done. But none of that mattered now. I had lost my job on a major theatrical feature project. What now?
Well, here's a classic text book example of When one door closes, another opens.
Back in late 1979, I was excited about a new animation studio formed by a group of Disney animators led by Animator-Producer-Director Don Bluth. They had just released a theatrical fully animated half hour cartoon shown on HBO called 'Banjo The Woodpile Cat'. This little film looked fantastic. The designs were fresh, the backgrounds sparkled and the animation was top notch. On top of that, it had really nice effects animation. I had liked Bluth's animation in the recent Disney films and realized that this was where the magic was coming from. In my opinion, Bluth was beating Disney at their own game. Their next film would be 1982's The Secret Of NIMH; a sleeper of a movie that would forever change the business. I became an immediate fan and knew I had to work for them.
Fast forward to 1989.
A portion of Don Bluth's animation team had returned from Ireland and set up a small studio in Burbank, California called West Olive, Inc to work on sequences of Sullivan Bluth movies. The unit was set up by Producer/ Master animator John Pomeroy with Directing animators Lorna Cook, Linda Miller and Ken Duncan as key members of the new unit. I caught wind of this and found out that the studio was located within a few blocks of my apartment. I quickly put together a portfolio and dropped it off to the studio.
A few days later I was invited to the studio to do a clean up inbetween test. Now, I would love to say that I walked in and breezed through the test, no sweat.
The reality was that I actually stressed myself out before, during and after taking the test. I had second guessed my abilities all the way through it. I wanted the job that badly.
A day later, John Pomeroy himself called me back to say that the test looked good, but that there were no spots open for a rough in-betweener at the moment. However, he was looking for an animation trainee and wanted to know if I would come back and test for the job. Needless to say, I was excited about this and agreed to come back for the animation test. I felt more relaxed about this because I was more in my comfort zone when animating. The test was Charlie The Dog (from All Dogs Go To Heaven) jumping onto a box.
All I remember is enjoying the test and being satisfied with the results. I had finished the test in a timely fashion and even had time to finesse the drawings. The next day John called to tell me that the test looked good and... to see if I could start work Monday. I was elated to say the least. The next couple of months would be very challenging to me, mainly because of two facts. 1) I was now working with some of the top talents in the animation business and 2) I needed to make sure my work was of exceptional quality so that I didn't embarrass myself...or worse, get fired!
I'll save some of my experiences of working on that movie for a later time, but let's say, it wasn't a cake walk...But I did learn a helluva lot.
I really enjoyed working on Rock A Doodle. The picture had tremendous potential and I was excited about the possibilities. It was a fun concept with some terrific surprises and the characters seemed to be well formed. Unfortunately, shortly after I arrived, problems began to surface. Victor French, then known as an actor from Highway To Heaven, was brought in to direct the live action sequences for the film. He became very ill and had to exit the production (he died a short while afterwards). Don Bluth took over the live action direction. Goldcrest, the motion picture company that was funding the movie, stepped in to question story direction and design choices. Some very funny sequences ended up being cut from the picture and a portion of the movie had to be re-animated for being too risque. As the reels started taking shape, story problems became clear and it was decided that narration had to be added to make the story flow better.
Overall, the movie was plagued with problems.
I wish that I could say that the movie would go on to become an animated classic; it had all the makings of a hit movie. We had great animation talent, catchy songs, neat sequences, super voices and a retro cool concept that featured a Rooster that resembled Elvis Presley. Regardless, many people love this movie. I still have a fondness for it for many different reasons.
If you haven't seen it, here is a behind the scenes look at Rock A Doodles' production in Ireland (Part one is above, Part two is below). I also included the theatrical trailer which includes the neat computer animated/ classically animated effects opening to the picture. Unfortunately, you won't see me in any of the documentary footage, since this was shot at the main studio in Dublin, Ireland. I was on the other side of the pond at a small satellite studio in Burbank, California! Enjoy.
As some of you know, I took off a couple of years from blogging to focus on other projects.
The time was well spent as I was/am working on a traditionally animated cartoon project that I was trying to get off the ground for a number of years. I finally have a handle on it and have been animating it the old fashioned way; with pencil on paper. I'm happy to say that rough animation is completed and I'm heading toward finishing it up by the Holidays. I will start revealing bits and pieces as it gets closer to completion. Expect to see making of materials right here on the blog in the near future!
Going forward, this blog is going to change directions a bit. What that means is that the focus is going to be directed more toward my personal experiences in the animation field, the challenges involved in creating a storyboard, animating a scene, designing a character or the headaches and triumphs of putting a whole film together.
I think that this will be more informative than posting a you tube video of The Osmond Brothers at Disneyland. Stuff like this will be removed from the site and posted onto a sister web site for Theme Park related posts (more on that to be announced soon!) I just want to make this blog more about the Animated Cartoon.
I feel (whether people believe it or not) that pure Cartoon Animation is disappearing from movie and Television screens all over the world...and that's just plain sad. What's worse is that the people in control of the purse strings in the entertainment world are killing the medium, simply by omitting it from being seen.
A few people are stepping up to the plate to help give the Animated Cartoon world a good kick in the pants. Glen Keane's classy DUET recently made a big splash on giant video screens in Times Square, New York City (where I saw it first hand!) and animator James Lopez is working on his Steampunk Animated film Hullabaloo that easily surpasssed its' target funding goal on Indiegogo. Mr. Lopez asked for $ 80,000, but instead raised $ 470,000! How's that for interest in Traditional Animated Cartoons!? The trailer is very impressive and the line up of animation talent even more so. Let's all get behind this and support James' project.
I know some of you have been visiting the blog for a while and have not seen anything new. I apologize for this and promise that I will be updating on a regular basis.
Thanks for staying tooned!
If you know me well or have been following the blog, I have a big love for Disneyland.
It's the only Disney park that Walt actually walked in. In a sense, Disneyland is an extention of the animation work done for the Disney motion pictures, mainly because it was designed by the very people who created all those wonderful Disney animated films! It's pretty obvious in places like Fantasyland where the rides are based off the animated features. But classic attractions like The Jungle Cruise, Pirates Of The Caribbean and The Haunted Mansion, it's not so apparent. In my animation classes, I told students to go to the Disney parks to study the art direction, composition of the scenes inside the attractions and the actual animation of posing of the animatronics. There's a tremendous amount of education to be had there!
In this clip from The Wonderful World Of Disney episode, Disneyland Showtime (1970), Kurt Russell takes us on a behind the scenes tour of Disneylands' Haunted Mansion. What's really great about this clip is that some of the imagineers who made this attraction a reality are in it. You'll see animator Bill Justice cutting discs to control the ghosts that shoot at each other continuously throughout the ride and then you'll see layout artist Yale Gracey setting up the haunted bust illusion featuring Thurl Ravenscrofts' projected image. Then it's off to a complete ride through of the then new Disneyland attraction. Missing from the clip are the key designers of the ride, background artist, Claude Coats, who was the main designer of the interiors, Master Animator, Marc Davis who designed a good amount of the scenes and characters, Blaine Gibson, who did a good amount of the sculpting of the figures and Rolly Crump who came up with a good portion of creepy ideas. Animator X. Atencio provided the script and probably one of the most important and memorable elements of the attraction, the lyrics of the song Grim Grinning Ghosts. Buddy Baker, also equally important to the mood of the attraction provided the creepy music. Believe it or not, I remember seeing this episode when it first aired in 1970, and being 8 yrs old and living in New York at the time, couldn't wait to get to California to see it first hand. It would be five years before I could see the Disney World version of the attraction and another eleven to see it it at Disneyland. The full version of Disneyland Showtime featuring the Osmond Brothers, Kurt Russell and E.J. Peaker can be viewed here...but beware!!!!!!!!It's slightly dated but still a fun look back at a more innocent time at Disneyland Park.
The Muppets comes out this week, and it looks and feels very much like the Muppets that I grew up with; fresh, fun and humorous. I'm going to see it with my daughter around the holiday and it should be pretty entertaining. I'm glad in that respect, but it bothers me that Jim Henson's name is not in bold, above the title. It may be called Disney's The Muppets, but even though they own the property, it's still not Disney to me.
Jim Henson was the heart and soul of The Muppets.
Many moons ago when I was just about 11 or twelve, I was a big Muppet Fan and very much into puppets for that reason. Henson was involved with creating delightfully bizarre sketches for The Ed Sullivan Show, For Commercials, for Sesame Street and was creating hour long specials for CBS and for syndication. Each of these projects were a whole lot of fun and I got caught up into it. In fact, I was so bitten by it that I decided that when I grew up, I wanted to work for Jim Henson!
My father saw that interest and nurtured it by enrolling me in some puppetry classes at The Museum Of New York with a professional puppeteer named Rod Young. For a number of weeks, we built puppets, wrote a show, recorded it and then performed it on a beautiful stage at the Museum. I took the experience and ran with it by performing my own little shows on a giant stage that my father had built me. I even entered a puppetry competition and won three 2nd place prizes. Professional puppeteers attended this and made a point to tell my father that I was a natural for the medium.
For a time there, I would write to Jim Henson in NYC, and he would actually answer these little letters personally. These letters would be typed up on Henson Associates stationery and signed by Mr. Henson in green pen. To say I was thrilled when I received these would be a major understatement. I even got the number to Jim Hensons' workshop on East 67th Street in NYC, and called him a few times on the weekends...he always picked up the phone. I knew what I wanted to say to him, but sometimes the words were slow to come out. Somehow I managed to stumble through a question or two...and I'm sure it sounded like some stuttering dumbbell kid on the other side of the phone, but he never rushed me off. Sometimes, I wondered if it was really Mr Henson answering that phone on a Saturday morning. Years later, I did find out that he did go into the workshop on Saturdays, often always by himself.
The letters that I received from Jim Henson weren't very long; basically simple answers to simple questions but I cherished having them. Unfortunately somehow over time, due to my carelessness or whatever, they got misplaced and lost.
By the time, I had hit thirteen years old, the animation bug got me and I redirected myself toward a career in animated cartoons. My father had a problem with my new direction because he had felt that I was giving up something where I had a unique ability. He eventually saw why I wanted to go into animation and supported my efforts. While I gave up puppets as a career choice, I never lost my love for them. I've remained a Jim Henson fan ever since. Recently, I went to see The Jim Henson Exhibit at the Museum Of The Moving Image in Astoria, Queens (runs through January 2012). The show features Jim's original character sketches as well as original muppets from some of the early commercials and specials. It was a thrilling experience for me. I think I've been bitten by the Muppet bug yet again.
I have a whole lot of sketches just lying around and every so often I go through them and start discarding; Frankly, If I didn't, my house would look like a trash heap and my wife would throw me out...or so I'm told. In this joyless process, I pull up the old trash can and begin to thumb through stacks of drawings, most of which are ok sketches but they're not spectacular enough to make me want to keep them. I'd say a good 99% find their way to the Shredder but every once in a while, I'll find a drawing that somehow stands out of the bunch. I posted a few examples above that were done in Ebony pencil. I don't think this was intentional, but the guy looks a little like Disney Animator Frank Thomas while the dog has a Hanna Barbera influence to him.
Tiny Toon Adventures was a very interesting experience. The memories that I have from it are all good. As a matter of fact, working on that show was a whole lot of fun. There was a carefree quality for me working on these cartoons and I remember laughing a lot. Maybe that's why in 'Fields Of Honey' I explode in a burst of laughter (more on that in another post). I had just joined the studio from Don Bluth's Burbank facility. I was working as an animation trainee and making a very low salary. Don't get me wrong; I learned many things there at the Bluth House, but it got to the point where I couldn't afford to work there anymore. Ken Boyer, who was one of the designers of the Tiny Toon Characters and a director for the show, offered me over double what I made at Bluth to join Warners as a layout artist! I loved animating for Don but I couldn't turn down the offer. Joining Warner Bros. Animation was a fantastic opportunity! Here I was working side by side with legends of animation and some of the most talented animation artists in the animation business! Working on Ken's crew offered me the ability to grow as an artist. Because we both liked the same styles of animation and design, it gave me the opportunity to stretch in the direction that I really wanted. In a short time, I was promoted to storyboarding. Storyboarding is as close to Directing a cartoon as you can get. Here you can really influence how the thing plays from beginning to end and that was very appealing to me.
Although I storyboarded a handful of Tiny Toon cartoons before this, Twotone Town was different for a few reasons. Even though it features the Tiny Toon characters, it feels like a different show. It was a half hour episode (most half hours were made up of three cartoon segments) and it is one of the few that features storyboard credits on the title cards (the episode was broken up into four blocks for the storyboard artists).
It's also one of the best animated episodes of that series...the twotone characters look great in the finale.
It's also credited as the inspiration for the next series that Warners would tackle called Animaniacs.
Although I was never credited for character models for the studio, I did influence a few through the boards. Near the end of this episode in Part Two, the Buddy Hackett caricature is from the only model sheet that I ever did at the studio.
(For your information, I worked on the last section to the finale!)
One of my all time favorite Lantz Cartoons Directed By The Great Tex Avery. Some people love it, some people don't get it. I think it's terrific because of it's simple concept. Enjoy!
Someone emailed me the other day about my drawings and somehow they got the impression that I never do dirt ruff sketches. After looking at some of my posts over the last couple of years I can see how you might get that impression. Truth is, I will do a lot of exploration with thumbnails to help me get where I'm going. If I can't get with what I'm after with a certain pencil, I'll switch off to some other pencil, marker or even a plain ol bic ball point pen, which is what you see here. Some of these sketches were done looser than normal for me and took no longer than 30 seconds to make. Because you're not investing a ton of time into the sketch, it's easy to discard and move on to the next. Like most people, there are times that I'll hit a brick wall. In those moments, it's best to walk away for a couple of minutes and clear your head. Get some reference, live action video, photos or look at other drawings that are similar. Go back to the board and use the reference to help you get the result you need. Worst case scenario, get another artists opinion and see if they can help solve the problem. Sometimes the solution is very simple and you were complicating it.
It's not a bad idea to look at the drawings you had previously done before becoming frustrated. Sometimes there's a gem in there and you glossed over it because you were caught up in the heat of the moment. BTW, the drawing on the bottom, is also a thumbnail drawn in a bic pen, but sketched a little slower.
Here's some random doodles of a bear character I had rolling around in my head. Lately, when I draw I prefer to use Polychromos because it's an erasable pencil and it has a nice flow. Years back when I was working on Mighty Mouse: The New Adventures For Bakshi & John K. and Beany & Cecil for John Kricfalusi, I was used to drawing in Col-erase, however John quickly got me out of that and told me to draw with Prismacolors for my character layouts. Prismacolor Pencils have a nice flow and you can get a drawing down pretty loose and quick, but the main problem is that they're nearly impossible to erase with! In order to correct the drawing, you had to use white out. I got used to drawing with those pencils and still like to sketch with them as seen here with the bear heads. My approach with Prismacolor is simple; I'll do a very light underdrawing first, then go over it with bolder strokes.
Most of the time though, I'm using Polychromos or Ebony pencils for my sketching, but will still switch back to Prismacolor for fun or col-erase for animation work.
Once apon a time, there was a show that was broadcast on Metromedia stations across the country called Wonderama, and although there were various hosts through the years, probably the most popular host was the last one, a man named Bob McAllister. McAllister, like many other hosts of childrens shows in the nation, started off in local television with his own childrens show in Norfork, Virginia and as his popularity grew, was hired by a TV station in Baltimore to host The Bob McAllister Show. The success of that show, which showcased Bob's gift for magic, ventriloquism and comedy, led to an offer from WNEW TV in New York to be the New Host Of Wonderama, replacing departing host Sonny Fox. Wonderama started in 1955, with hosts changing every couple of years. Bob's tenure was the longest, from 1967 to 1977 and for good reason, he was very popular with kids. Wonderama was a three hour show that ran on Sunday mornings from 8 to 11 am and featured games, prizes, special guests, magic, humor and Warner Bros. Cartoons! Because of the popularity of the show, they were able to get some big name guests such as Jerry Lewis, Abba, The Jackson Five and Muhammad Ali to name a few. They also had guests from the world of animation and puppetry, like Mel Blanc, Jim Henson and Bob Clampett!
But make no mistake, It was McAllister's show and he was the draw. Who can forget The Fingleheimer Stomp, Have You Heard Any Good News Today?, Exercise!, or Ecology? All these songs were co written and performed by McAllister on the show. McAllister was the kids celebrity.
Wonderama was cherished by most young New Yorkers as there was a three year wait to get on the show. As a kid, I must have mailed hundreds of letters requesting tickets. Sure enough, I was thrilled to receive tickets a few years later...and continued to get them into my teens! I appeared on the show three times but was never picked to participate in the games. Drats as Charlie Brown might say, however it was a kick just being there taking it all in. Songs that he had performed on the show were compiled as a record album called Wonderama's Bob McAllister: Kids Are People Too!
Bob made appearances at May's Department Stores around the NY area promoting the album. I was one of those kids lining up outside the Mays' store in Lake Success, NY one Sunny Saturday morning in the early 70's, eagerly waiting for the store to open up at 10am. When the doors were unlocked, kids literally stampeded through the store to get where McAllister was sitting, with endless stacks of these records. All I remember was waiting on a long line to say hello to Mr. Wonderama himself and say how much I liked the show. Of course, that never really transpired as the conversation went something like this...McAllister: "What's your name?" and I replied, 'Brian'. McAllister then ripped off the cellophane and signed the album in magic marker. It's an image that has stayed with me all these years.
Wonderama ended on Christmas Day 1977, and McAllister went on to host an ABC show called, Kids Are People Too! Because of creative differences with ABC, he was replaced by a younger host named, Michael Young the following year.
Bob went on to perform magic and host the occasional special here and there, but never enjoyed the success that he had with Wonderama. He managed to put out a video called Blockbuster Magic in the 80's that was mildly successful. It's still available in some magic shops.
McAllister died of lung cancer on July 21, 1998. Sadly, his passing wasn't considered big news.
Sometimes you don't realize how special something is until you lose it...and then you recognize it as a lost treasure.
Bob McAllister made every Sunday morning feel special, kind of like Christmas. That show will always be a treasured part of my childhood; not only because the show was fun to watch, but it featured things that were of interest to me, like the worlds of animation, puppetry and television production.
There's not much left of Wonderama. WNEW erased much of the video tapes so there's not a whole lot available. Fortunately, somebody saved a few of the episodes. Above here's a clip of the snake cans game, which gives you a brief but dated taste of the show.
However, If you didn't live it, you'll never know how special of a show it once was.
Here's some real Disney animators led by Ward Kimball, playing some hot dixieland jazz. Back in the 50's and 60's they were very much in demand, so much they could have left their day jobs. Instead, they used it to blow off steam from Disneys. I know it seems romantic to think that things were more fun and simpler back then...maybe they weren't...but it sure seems like they were.
Well, I don't remember drawing this one but I do know that it was done with a Polychromos Blue pencil.
This is a drawing that I did while I was good and angry about something and vented my rage in a drawing. I happened to like it and it went into a drawer for a couple of years.
Looking at this drawing today, I would probably approach this pose a little bit differently...like changing the angle of the head and possibly having the arms clench in a downward direction. But this is the way my emotion took it and for some reason it works for me. As an animation artist, I use emotion to fuel my quick sketches because I believe you get something absolutely pure on the paper. Sometimes I'm surprised by the result because you're not thinking about technique or second guessing yourself on the pose. You're focused strictly on getting that emotion down in a sketch and you're letting your talent shine through.
Here's another character of a rat recording details from a crazy crime scene. It was from a project I was actively developing about six years ago that borrowed heavily from shows about detectives from the 50's and 60's. The pencil media is Polychromos Blue.
Now don't get me wrong, there's some great execs who take pitches all day long that get the ideas you're trying to sell...but unfortunately, there are a good number who have a hard time comprehending a good idea...or any idea.
It dawned on me after some rather unsuccessful pitches that a show like this could never fly today. It had a couple of strikes against it from the get go which I'll share with you here. Strike One - It references a different time period. Because this show evokes old imagery from the 50's and 60's, Executives feel the show would never connect with todays' viewers. Strike Two - The main character is an adult rat wearing clothes.
This would never fly with some executives because there would be too many confusing questions about the humanoid rat. I.E., Why is a rat wearing clothes? Rats can write? Is the rat really a human that looks like a rat? Why is the rat a detective? Can the rat talk? etc. etc. The questions would be too numerous to answer in a single sitting.
Besides, the rat is an adult and could never relate to children. Strike Three - The rat character doesn't sing or have a band. The kiss of death for a show like this. You see no band, no show. Strike Four - The cartoon is a bit clever. If the show has an ounce of wit or parody, the kiddies will never get it. Strike Five - The cartoon has slapstick humor. You can't have characters hitting each other over the heads because kids watching will get the wrong idea and repeat it on their friends. Can you imagine the violence that could erupt nationwide? Strike Six - The drawings are too slick and professional looking. If the drawing is drafted well, overseas animation studios will never be able to copy it. Better to stick to childlike drawings that are simpler to draw and kids can relate to better. In other words, strive for the lower possible denominator. It's no wonder why kids don't watch cartoons anymore!
I decided to go through some animation related stuff today and came up with some drawings that I did for a video project that was being planned about ten years ago. All that I had left were some of these clean ups so I decided to post them here rather than let them collect dust in the old archive.
Media on these two were simple sanford light blue for the roughs, then rubbed down with a gum eraser and cleaned up with a standard number two pencil; like the ones they used to use in schools. The Sanford colerase pencils can be purchased at any Michaels art and craft store. I used to use blackwings until they stopped making them...now I hear they're back, but I'm so used to using regular number 2 pencils to clean up my work, I hardly step into an art store anymore....unless I absolutely have to....
From the early 60s', Joe Barbera and William Hanna explain the process of animation from the Hanna Barbera perspective. I've never ever seen this before so this is pretty cool. I think HB's early product is terrific because there's still a whole lot of care in the preparation of their animated shorts. The drawings are well drafted, the timing works, colors look neat and the voices are great. Unfortunately, somewhere after the sale of their studio to Taft Broadcasting around 1966, the studio fell over a cliff! Don't get me wrong...there was still good things coming out from Hanna Barbera, just not so much. Anyhow, this stuff still fascinates me! HB's early animated cartoons like Ruff and Reddy were made for a budget of just under $ 4000 for a 5 minute animated cartoon. By the time they got to the Flintstones, the quality was upped and the budget became $35,000 for a half hour television show. I know it sounds like chicken feed today but the Rocky and Bullwinkle show had a budget that was paltry in comparision, roughly 1/4 the Budget of a Flintstones half hour!
Just so that you know, I'm doing my best to publish one post everyday (at worst one post every two days). I apologize for abandoning the blog for so long over the last couple of years, but I had a whole lot of personal issues that forced me to put it on the back burner. I'm committed to keeping the blog fresh, interesting and up to date, so please stay tooned. If there is anything you'd like to see more of, let me know. Todays' post is of some fish, which I pulled from my portfolio about five years ago. However, for some reason I didn't discard them (and I throw out quite a few older sketches!) probably because I liked something about the design. Actually I still do! Years back I was a dedicated Bluth fan, I studied some of the animation of the fish from 'Xanadu' and 'Banjo The Woodpile Cat' and those influences made their way into these drawings. Drawn with an Ebony pencil on regular bond paper, these sketches have no construction lines. These sketches were drawn clean, locking down the shapes and then adding the eyes, fins, mouths, etc.
When I moved back to NY in early 1995, I had secured freelance work on a show with a new production outfit in Manhattan. It all sounded good in the beginning. Everyone was impressed with my work and credentials and couldn't wait for me to get going on the first storyboards. Then everything came crashing down. Nothing went right. Changes were ordered on almost every single panel; from just about everyone in the studio including assistants. I have no problem with revisions, but some of the changes were absolutely moronic. After a valiant attempt to please everyone, there was a second round of revisions on top of the revisions!
That storyboard which should have taken 3-4 weeks to complete was now taking 8+weeks to complete.
I stopped work on the show and told the production manager I was done. Although I was happy to be off that show, the sudden realization hit me; I had no work and virtually no prospects of future work. I called around to a bunch of studios and there was no work to be had. It was a scary moment. I began to doubt my decision to move back to NY, but miraculously, I soon found myself being offered series work from a good number of studios. First came a series offer from Hanna/Barbera, then another from Universal Cartoon studios and then there were other various freelance jobs. I grabbed all of them; I didn't turn anything down! The longest lasting of these jobs was offered by Alfred Gimeno who was Producer and Director of the new Casper show at Universal. I ended up storyboarding a whole bunch of episodes from 1995 through 1999. When I was young, one of my favorite cartoons was Casper The Friendly Ghost, so I thought it was a real kick to work on the new show!
To say that working on Casper was a breeze would be an understatement. It was a fun show to work on, with lots of opportunities to do a whole lot of funny business. The ghostly trio, with their obnoxious personalities were my favorites; lots of great character business! The problems that I had with the previous studio were practically non-existent on this show. All I remember from the experience was laughing a whole lot at some of the drawings I created. Of course there were changes; a few here and there, but basically what I boarded remained pretty much the same in the finished version on the small screen. The first few boards were really rough in nature and I was asked to draw cleaner. I can rattle off drawings pretty quickly and by slowing down a little bit I can actually get a good amount of info into the drawing. The boards presented here are actually still considered rough storyboards, drawn in Ebony Pencil that look clean. What I did was rough out each panel with a quick gesture of the action, then rubbed that down with a gum eraser and drew over it with a sharpened ebony pencil. That's probably why you don't see a whole lot of construction lines in the board pages posted here from 'Pen and Tell Her' (click on the images then click again to enlarge the pages). This enabled me to save time in clean ups later. One board that I did in this way went through without a single change! Alfred would later leave the show and a new director, Marija Maletic Dail took over. Pretty much it was business as usual although Marija had a few suggestions here and there with her take on the boarding.
Looking back at these drawings, it's definitely not my best work (hard to believe it's been 15 years since I drew them) but it's still better than the drawings done for the finished cartoon!There were lots of shortcuts taken (as the boards had to be done fairly fast) and some of the drawing seems a bit off. However, I think it captured the attitudes pretty well and it's cool to look at. We had a whole bunch of people working on this show from the Animaniacs and Tiny Toons crew including writers, voice people and animation artists. Overall, it was a pretty neat experience but looking at the end product left me a little non plussed. The cartoony expressions and attitudes were basically discarded by the overseas animation studio (obviously not knowing what to do with them!).
As I recall, there was a whole lot of frustration with the production being on a such tight budget.
The finished animation was extremely uneven at times, sometimes downright horrible, but that's what you get sometimes with overseas animation houses!
Here's a drawing I did for some project years back. It was in my portfolio for a while and then I decided to remove it for some reason, probably because it wasn't representing any specific bird. I change out drawings in my portfolio quite often to keep it fresh. I still liked the drawing however and kept it in a pile since then.
Obviously it's some rag tag bird, likely something in the seagull family. However, once again it's cobbled together from my imagination without a heap of reference which sometimes can be a good thing! Most artists will look at their work years later and retire or destroy a good deal of their drawings as being 'not up to current standard'.
This one has survived multiple trash sessions. It has some fun shapes in it and that's why I like it. The media was either an ebony or prismacolor black pencil on animation bond paper.
Does anyone remember this incidental character from any show that they can remember?
