A Visit to Tiny Toons Two-Tone Town

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!)

SHHHHHHHHHHH! A Walter Lantz Cartoon!

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!

Bear Heads.....

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.

A Little About The Firehouse Five Plus Two

I recently got verbally beaten up over my last post featuring The Firehouse Five Plus Two because I didn't provide enough information about the group. So in order to right that wrong, here's the full story.
Back in the 40's, a group of Disney animators (Frank Thomas and Ward Kimball included) liked Dixieland Jazz and during lunch hours, would play some records on the studio record player of Jelly Roll Morton, Baby Dodds and Louie Armstrong. Kimball, who learned trombone in grade school, would play to the records. Other people; who also played an instrument, would come in and join Ward playing to the records. Finally one day, when a group of these guys were jazzing along to 'Royal Garden Blues', the record player broke down, and they kept on playing and according to Ward, "...to our amazement, sounded pretty good all by ourselves!" They got to be tight as a group and eventually drew crowds at lunch time. The band was first called the Huggyjeedy Eight, and later on they changed their name to The San Gabriel Valley Blue Blowers. When the local horseless carriage club asked them to play for their auto tour in San Diego, Ward found a 1915 Fire Truck, restored it, and with the group now dressed as firefighters, they changed the name of the band to The Firehouse Five Plus Two.
The FH5+2 ended up playing a good amount of local gigs around Los Angeles, while maintaining their day jobs at Walt Disney Studios, and were discovered by Les Koenig, who was a writer at Paramount Studios and had dabbled in producing Jazz records. Koenig liked their sound and offered to produce some records for them for Good Time Jazz. From 1949 to 1971, the band recorded 12 full albums of material which was distributed around the world, most of which have been available on CD and can be purchased here...The Firehouse Five Plus Two Story
The FH5 played many gigs in the 50's and 60's and appeared in movies, radio and on television!
The fact that this was all done on their spare time is even more impressive. Ward once told me that Walt Disney felt a certain amount of pride that his group of animators were equally talented as a famous music group! Between 1955 and 1971, the group could be found playing around Disneyland, but most often at Plaza Gardens (to the left of the Disneyland Castle, off Main Street) or at The Golden Horseshoe in Frontierland. The group even released an album entitled, The Firehouse Five Plus Two at Disneyland, from one of their Golden Horseshoe performances.
In the clip above, Directing Animator, Ward Kimball (Jiminy Cricket, Jaq, Gus, Tweedle Dee and Dum, The Mad Hatter) is on Trombone, Harper Goff (the designer of the Nautilus from 20,000 Leagues Under The Sea and The Jungle Cruise attraction from Disneyland) is on Banjo and Directing Animator, Frank Thomas (Pinocchio, Queen of Hearts, Tramp, Baloo) is playing the piano. Interesting to note; if Thomas looks a little like Roger playing the piano  from 101 Dalmatians, that's no coincidence. Milt Kahl who animated most of those scenes caricatured Thomas as Roger in the film!  Other Disney studio personnel is George Probert is on clarinet, Danny Alguire on Cornet and Ed Penner on Tuba. Jim MacDonald, the studios sound effects man and voice artist responsible for Jaq, Gus, Evinrude and in later years Walt Disney's stand in for Mickey Mouse, plays the skins.

Rage Dog Drawing

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. 

Son Of Discarded Portfolio Drawings Part Eighty Seven

Here's another discarded portfolio drawing that I had laying around. It didn't last long in the portfolio because of multiple reasons, the main one being that it was only there to serve the purpose of having more humans in it. My portfolio got a little too top heavy with cutesy animal characters and I was looking to balance it. This drawing got the boot a year after initially adding it. It's not that I thought there was anything wrong with it; just that I had things that I thought presented me a little better. I used to be very careful about letting people see work that I thought was below par or just not up there with my best. I don't worry about that anymore because even with drawings that you like very much, there's always going to be someone thinking that your work is not inventive, thoughtful, sincere, stimulating, subtle, organic, animated, etc (you get the idea).
Once you reach a certain degree of experience, even the drawings that are not so great by your standards, may exhibit a quality that you may gloss over all together. Sometimes those quick simple little sketches exhibit a whole lot about your abilities as an artist.
A quick story....Years after I went to school for animation and fine art, I took a life drawing class with a famous artist in NYC. In sketching out my first 20 minute pose, I was a little embarrassed by the drawing and wasn't in the mood to have my instructor critique the work. But as he walked behind me, he took a quick look at my drawing and exclaimed the following....
"Ahhh, a professional!" It was quite a good feeling to hear that, although it didn't make me feel any different about the sketch.. It did give me a certain confidence to know that even my half baked attempts at a good drawing are going to be tempered with an ounce of professionalism.

Random Portfolio Drawings

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?

Ruff sketch...

Here's a little quick sketch that I did of a pontificating fellow.

It was done in with an ebony pencil with plain copy paper.

Never underestimate the power of copy paper for pencil drawings...it's a great drawing surface for a couple of dollars per ream!

If you've noticed, I haven't posted a whole lot of cleaned up drawings in the past. The reason is simple; there's a power to the ruff sketch that comes right out of the imagination onto a clean sheet of paper. There's going to be a bunch of imperfections, but the power of the lines and the raw attitude of the pose makes it much more interesting to me than a labored over clean up. Besides, I can rough out a pose like this in a minute or two whereas a clean up will take me much much longer to lock down.

Bottomline, I'm able to post quick sketches much more frequently.

To this day, I learn a whole lot from rough drawings. It's almost like you can see how the artist approached the sketch. There's something about a really great ruff sketch that gets me totally enthused. The vitality of the drawing really takes over and makes the thing alive!

Now don't get me wrong...a really well done finished drawing can also be terrific...with the emphasis on 'can be'. But the truth is, some clean ups are merely adequate, and lose all the flavor of the original rough drawing because the rough is traced.

A direct tracing with a clean sheet of paper over the original almost always loses something in the process. Unless you have a master artist doing the clean ups!

When a great clean up artist is at work, he or she enhances the original rough by redrawing it, trying to plus the original.

I've worked with a few clean up artists over the years and some of them should have been animating because they were just that good. But they preferred working in the trenches because they did their jobs well and didn't have to worry about producing 7 feet of quality animation in a week. Thank god that we had these people content in their jobs because they made the character animators look sensational!

Anyway, getting back to the rough drawing above, a friend commented to me that this drawing wasn't all that rough. His point was that most of the detail was there and locked down in single lines.

Well, I've done ruffs that resemble lollipops with scribbles for legs and I've done drawings that have many of the elements close to locked down. But even with a drawing that appears to be close to done, there's still things that I would like to add or change before I finalize it.

OH by the way, I did this drawing today...not in 01 as I mistakenly scribbled on the bottom.

Some Disney Animators playing Dixieland

Here's something pretty rare...a bunch of Disney personal playing Dixieland Jazz! It's the Firehouse Five Plus Two and they were really something...take a look...see if you can spot Animators Ward Kimball and Frank Thomas. From what I hear they were pretty popular in their day recording 20 record albums. The band stayed together for over 20 years and it was just a sideline or hobby for these guys. Some hobby...these guys had TWO careers!
You can still buy a bunch of their albums on CD! Enjoy...this clip is from the old Mickey Mouse Club. Oh...and the kid who's playing the drums is really playing the drums. He's Cubby O' Brien and to this day still plays the drums professionally!

YAKKO'S WORLD

After finishing work on Tiny Toon Adventures, the staff at Warner Bros. went to work developing Animaniacs. A few months into development when we were locking down the stars of the show, I went ahead to animate some Walk cycles for Yakko, Wakko and Dot, which were received by the producers in a great way. Immediately after development, we went right into production minus our layout crew. We were told to draw our storyboards tighter in order to use them as layouts for the animators overseas.
Eliminating layout might have saved the producers some money in the short run, but it put tremendous pressures on the storyboard crew.
Yakko's World wasn't the first cartoon to be storyboarded (for me that was The Big Candy Store) but it was the most labor intensive.

When I was presented with the script, it was just the lyrics for the song matched to the Mexican Hat Dance. Since I sometimes take things too literal, I thought that it might be a magical kind of idea to have Yakko doing the Mexican Hat Dance, while pulling hats out of thin air representing the countries that he mentions in the song. So to get the full picture, hats would be appearing, disappearing, swallowing up Yakko and finally for the finale', exploding as he reaches the final verse of the cartoon. I thought it was a great idea because it felt like a throw back to some of that great animation from The Three Caballeros, Dumbo and some of those amazing WB Clampett cartoons.
I was really excited at the opportunity to do something absolutely surreal for network TV. So, the first thing that had to be done was the research. I looked in book stores and in libraries for all the different hats worn around the world. I researched customs, clothing, dances..anything that would aid me in boarding the cartoon. Then I set down to work, roughing out my Yakko's World masterpiece. I spent the better part of two weeks roughing out the short cartoon. Unfortunately, most of the research ate into my boarding time. I was late with the storyboard and although the production execs cut me some slack for a few extra days, patience was wearing thin. Finally, I stayed up late one night and finished the thing. I was sure that all would be forgiven once they saw what I came up with.
The next morning, my director and I were asked to present the storyboard to the producer. Armed with my masterpiece we proceeded upstairs to The Producer's office where we sat down and started to pitch Yakko's World. I flipped over the title page, showed my boss how Yakko leaps into frame and starts in with the hats when he stopped me.
"What th' #&%^@# is this?
Just have him point to the countries on a map!"
I looked at my Director and then back to the producer and then quietly exited the office with my masterwork in hand.
The only thing salvaged from the original board was...the title page and.....
page one where Yakko leaps in. The rest found a home as a giant wee wee pad for my dog.

I was given another two weeks to RE-board Yakko's World with him pointing to a map.
Again, I had to get some research (mainly a map) to accurately represent the countries that Yakko points to. Unfortunately, that was just the beginning on the headaches of working on this thing. First off, some of these countries are so small that they don't really register on the screen and second off, the writer of the songs' new lyrics had problems rhyming certain nations together. So in using creative license, he used so called nations like 'San Juan' to rhyme with Guam. San Juan was easy for me to figure out as a city in Puerto Rico but others were not as easy, and I have to say that I probably lost some hair due to the stress that Yakko's World put me through.
The third problem was that the song moves pretty fast and there's not a whole lot of business that you can do between the short breaks. That was important to me because I thought the whole thing of pointing to countries was pretty boring.
To help perk things up a bit, I had the countries light up as Yakko points to them, which you really had to do because many of these countries wouldn't be seen because of their size...plus remember that Yakko is pointing to these places at lightning speed.
Another thing I incorporated was a little dance that Groucho Marx once did for (I believe) the movie Animal Crackers. One of our staff guys (I apologize for not remembering his name) animated this little dance with Yakko that was inspired by Groucho's dance in Crackers. Since it was a development type thing that wasn't being used in production, I thought some of it might fit within the breaks and liven up the thing, so I called for it.
The other thing that I did was to have Yakko roll up in the map at the end, instead of the explosion of hats that I had in the original version. It just seemed like a good way to finish it up.
I expected a good number of changes when it went for approval, but none were requested and it went into animation without a hitch. A few months later, I was called into editorial to see the finished version. Everybody, (myself included) was quite pleased with it.
I recall being surprised that it was very entertaining.
Warner's Executive Brass thought that it was so good that the cartoon was run in The Warner Stores and on The Fox Network as a teaser, months before the show hit the airwaves.
Pretty much the way I boarded it is the way you see it on the screen.
So here it is...Yakko's World.