Michael Sporn Animation – Splog

I thought today I’d post anew some layout drawings done by William Steig for an Alka Seltzer commercial produced in the early 60′s.

Obviously, for the purpose of viewing, I’ve reconfigured the poses so that several of them are on each set-up. There are actually 15 drawings to the commercial, all on separate sheets of rice paper.

The commercial was done by Elektra Studios. Steig worked with a bamboo reed cut to form a point. He dipped that in ink and drew. The paper is particularly thick and is designed to absorb the ink. They’re punched with Oxberry peg holes top and bottom. I have one of the bamboo “pens” he used to draw these layouts. The final commercial was basically an ink line drawing against a white field.

I’ve been a big fan of Steig‘s since my earliest days when I first discovered him in the New Yorker Magazine. By the time I’d made it to college, I’d already seen two art exhibits of his artwork.

By the time I saw my third exhibit of his work, I was able to barely afford one of the New Yorker drawings. It’s done on rice paper with the same type of “pen”. Years later, when I told Steig that I’d bought it, he said that it was the only drawing to have sold at that exhibit.

It was real luck for me to have been able to adapt a couple of his children’s books to animation. I not only got to meet him and his wife, Jeanne, but worked with his flutist son, Jeremy, on a number of projects.

I’m rather partial to Abel’s Island as a film. There were only about two dozen B&W pen and ink illustrations in the book, so we had to do quite a bit of designing in the style of Steig

Bridget Thorne, who art directed the film, did some of her finest work ever on the backgrounds – beautiful pieces that I still treasure. I think this is one of Steig‘s best books, and I think we more than did it justice. Too bad negative feelings developed toward the end of that film as Jeremy sought some kind of financial greed, and I had to move on past him to protect the film, itself.

- I still wonder what Shrek might have looked like if they’d followed Steig‘s book illustrations.

These are some of the layout drawings done by William Steig for an Alka Seltzer commercial produced in the early 60′s.

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The commercial was done by Elektra Studios. Steig worked with a bamboo reed cut to form a point. He dipped that in ink and drew. The paper is particularly thick and is designed to absorb the ink. They’re punched with Oxberry peg holes top and bottom. I have one of the “pens” he used to draw these layouts. The final comercial was basically an ink line drawing against a white field.

7 9

I’ve been a big fan of Steig‘s since my earliest days when I first discovered him in the New Yorker Magazine. By the time I’d made it to college, I’d already seen two art exhibits of his artwork.

1213

By the time I saw my third exhibit of his work, I was able to barely afford one of the New Yorker drawings. It’s done on rice paper with the same type of “pen”. Years later, when I told Steig that I’d bought it, he said that it was the only drawing to have sold at that exhibit.

1517

It was real luck for me to have been able to adapt a couple of his children’s books to animation. I not only got to meet him and his wife, Jeanne, but worked with his flutist son, Jeremy, on a number of projects.

I’m rather partial to Abel’s Island as a film. There were only about two dozen B&W pen and ink illustrations in the book, so we had to do quite a bit of designing in the style of Steig

2427

Bridget Thorne, who art directed the film, did some of her finest work ever on the backgrounds – beautiful pieces that I still treasure. I think this is one of Steig‘s best books, and I think we did it justice.

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