Michael Sporn Animation – Splog

- Last week, I posted a piece from Animafilm #1 by Raoul Servais. Of course, I’m sure that many of those reading this today do not know who Mr. Servais was. Consequently, I’ve decided to follow that post with this bio of the Master animator of the 70′s.

If you’re at all interested, here’s a bio from that same Animafilm issue.

Raoul Servais was born in Qstend on 1st May 1928. In 1950 he graduated from the applied arts department of the Royal Academy of Fine Arts in Ghent.

Already in 1946, with the aid of his professor and a few friends, he produced a short cartoon entitled “Een spookhistorie” (Une histoire de fantome, A History of a Ghost). This film has been shot with a camera made of a cigarbox and parts of a “Small Mechanic” toy kit for kids… Having made some experimental films on a 8 mm reel, he decided to thoroughly study the applications of an animated cartoon. Step by step, owing to his perseverance and obstinacy, he became a master. Servais is an example of a self-tought man with iron-firm determination. Armed with the technical learning, he set about making animated films. His brilliant career in this field, however, should not make us forget the fact, that he had been a very active painter and graphic artist — winning awards at many painting and graphic art competitions – and had also participated with Rene Magritte in the making of the monumental “Domaine Enchante” (Spell-bound Manor). Film has nevertheless remained his main objective. In 1960, as mentioned in his filmography, he completed his first animated cartoon – “Havenlichten” (Lumieres du port, Lights of the Harbour). From then on his films never fail to appear regularly, winning numerous awards and important distinctions all the world over. His awarded films are enumerated in the alphabetical order in the appendix. Member of the Academic Royale des Sciences, Lettres et Beaux-Arts de Belgjque (Belgian Royal Academy of Sciences, Literature and Fine Arts), Raoul Servais has been a professor of Academic Royale des Beaux-Arts (Royal Academy of Fine Arts) in Ghent since 1960. There, with a lot of verve, he has been supervising the animated cartoon department. Mention must also be made of the fact, that for a couple of years now he has been a lecturer in Ecole Nationale Superieure d’Architecture et des Arts Visuels (National Higher School of Architecture and Visual Arts) in Brussels (La Cambre).
Raoul Servais’ career means putting himself constantly to test, perpetually overcoming his own self – as far as both his creative works and his techniques are concerned. It is worth stressing, that each of his films renovates graphic expression’. Full of contempt for repetitions, Servais in his films confronts the spectator with the multiple aspects of his artistic activity.

If we realize such obvious facts like the abuse of all film genres, unevenness-whatever this might imply – warranting his dedication, Raoul Servais is then a totally committed artist, deeply concerned with honesty with which we should face life and the rules life imposes. In this state of mind commitment is inevitable. Servais – a contestator certainly not without reason, is no opportunist. He is human in the broadest sense.

Brutal accents are rarely found in his films. It is refinement and poetry that make his message universal. Raoul Servais was a member of the jury of the international festivals in Cracow, Oberhausen, Teheran and New York.

N. Vander Vorst.
Image from his last film, “Harpy”

RAOUL SERVAIS FILMOGRAPHY
1959 – “HA VENLICHTEN” (Lumieres du port, Lights of the Harbour), 1st prize for an animated cartoon at the National Belgian Film Festival, Antwerp,
1960.1964~”DE VALSE NOOT” (La fausse note, False Note). Grand Prix for an animated cartoon.at the National Belgian Film Festival, Antwerp, 1964; 1st prize for an animated cartoon at the Benelux Festival, Mortsel, 1965.
1966 “CHROMOPHOBIA ” (Chromophobia). St Marc’s Lion -Grand Prix for an animated cartoon at the International Festival of Short and Documentary Films, Venice, 1966; Silver Miqueldi at the International Festival of Short Films, Bilbao, 1967; 1st prize for an animated cartoon at the International Youth Films Festival, Hyeres, 1969; 1st prize for an animated cartoon, film critics’ award, Minister of Culture award at the International Festival of Films for Children and Youth, Teheran, 1967; special prizes of the jury at Moscow and Leipzig Festivals, 1967; Grand Prix for an animated cartoon at the National Belgian Film Festival, Antwerp, 1966; 1st prize for an animated cartoon at the Benelux Festival, s’Hertogenbosch, 1966; CIDALCprize; label and prize for the quality, France, 1966; Pradikat, GFR, 1966; 1st prize for an animated cartoon at the International Film Festival, Ramat’gan,
1971. – “SIRENE” (Sirene). Golden Statuette – Grand Prix for an animated cartoon at the International Festival of Films for Children and Youth, Teheran, 1968, film critics’award at the same festival; Silver Hugo – the International Film Festival award, Chicago, 1969; Silver Pelican – the International Animated Cartoons Festival award, Mama/a, 1968; Silver Boomerang-International Film Festival award, Melbourne, 1969; 1st prize for an animated cartoon at the International Film Festival, Philadelphia, 1970; Grand Prix for an animated cartoon at the National Belgian Film Festival, Antwerp, 1968; Prize for the best colour film, 1968; Label – for quality, Italy; 1969 – “GOLDFRAME”, Grand Prix for an animated cartoon at the National Belgian Film Festival, Antwerp, 1968; TV/BRTaward at the same festival; distinction at the International Film Festival, Sydney, 1969; selected for the International Film Festival, Cannes, 1969; put up for Academy Award, Chicago, 1970; Label – for quality, France.
1970-”TOSPEAK OR NOT TO SPEAK”, Grand Prix of the public at the International Festival of Short Films, Oberhausen, 1971; ASIFA award and prizes of GFR Film Clubs at the same festival; special mention at the International Animated Cartoons Festival, Annecy, 1971; Grand Prix for an animated cartoon at the National Belgian Film Festival, Knokke-Le-Zoute, 1971.
1972 – “OPERATION X-70″, Special award of the jury at the International Film Festival, Cannes, 1972; 1st prize at the International Animated Cartoons Festival, Zagreb, 1972; Grand Prix for an animated cartoon at the National Belgian Film Festival, Knokke-le-Zoute, 1971.
1973 – “PEGASUS”, Grand Prix of the public at the International Film Festival, Antwerp, 1973; selected for the International Film Festival in Berlin.
1976 – “LE CHANT DE HALEWYN”(Halewyn’s Chant) – one part of a TV series: ,,Legends of Europe”).
1978 -”HARPY” (Harpy), Special prize of the jury at the International Film Festival, Odensee, 1978, with regard to Raoul Servais total film output.

Following Masereel and L. P. Boon, the VAN ACKER reward was granted to Raoul Servais in 1976.

- Last week I posted Alex Toth‘s Jesse Marsh piece from the magazine Panels. Bill Peckmann who was the Associate Editor of the mag, answered my request and sent the article I noticed about Carl Barks. In fact, he sent me additional Barks material he’s saved.

These include a the following letter Carl Barks had sent him as well as a couple of images.

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(Click any image to enlarge.)

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Here’s the article from Panels, an interview between Ed Summers and Carl Barks.

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As ever, many thanks to Bill Peckmann.

- This scene is a continuation of animation from All the Cats Join In. It’s another scene by Fred Moore and is, to me, one of the highlights of the film. The girl keeps jitterbugging even though shes rapt in conversation on the phone.

The problem I had was twofold. The xerox copies offered no registration and there were no visible numbers on most of the drawings. Hence, I did the best I could to register them, even though I couldn’t use the ever-moving feet as an achor.

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I’ll post the remainder of this scene next week.

The following QT movie represents all the drawings in the scene.
Since I had no numbers to go by, I exposed all drawings on twos.

Click left side of the black bar to play.
Right side to watch single frame.

Many thanks for the loan of this scene by Lou Scarborough.

- The invitation read:

Poem In Your Pocket Day
A Citywide celebration of poetry and literacy where
New Yorkers are encouraged to carry a poem in their pocket
and share it with their friends, family, co-workers and classmates.

and

Grand Opening Preview of
Emily Dickenson’s Garden: The Poetry of Flowers
The Botanical Garden’s Spring Exhibition illuminating
Dickinson’s life, gardens and poems.

My friend, Steven Fisher was there to capture the event on film.

Within the exhibit, there is a model of Emily Dickinson’s home.

Of course, the primary exhibit in the Botanical Garden is the flowers.

There were plenty of treats to be had.

Finally, the celebrity guests arrived to make the presentation.
Sigourney Weaver.

Mayor Bloomberg

Many thanks, Steve for the great photos.

Here’s a recap of a post I did back in November 2006.

- Back in the late ’70s, there was a local newspaper that competed with the Village Voice for the alternative audience. The Soho News was smaller and thinner, but had its own treasures. Some good writing and listings, and many excellent alternative comic strips. (Bill Plympton had a weekly strip in this paper before he started animating.)

I fell in love with one comic strip called Gertrude’s Follies to the point where I waited each week for the new issue and the new strip to hit to market. It was about Gertrude Stein and Alice B. Toklas and all the crazies that came into their lives – particularly Picasso, Hemingway and other iconic art types. It didn’t matter that Matisse and Capote didn’t meet; they were both available for the strip – as was everyone else.

Finally, after enjoying it for so long, I decided to locate the cartoonist behind it, and see whether he was interested in developing a storyboard and script for a feature. Maybe we could get some low-budget financing.

Tom Hachtman was the cartoonist, and he was a brilliant artist. His wife, Joey Epstein, was another fine artist. The two entered my life at this point, and some interesting things developed.

Gertrude’s Follies was an ongoing project. Tom worked with Maxine Fisher, who has been my writing partner through all the years of my studio. The two of them developed a couple of themes from the mass of strips that had been done and started to weave a storyboard. Tom left 4 or 5 panels of each 6 panel page empty, and I constructed and reconstructed story around them. Sometimes I would draw more material, sometimes I would take some away. It was real fun.

The Soho News folded, and no one really picked up the strip. It ran for a short time in The Advocate. Tom was able to publish a collected book (see the cover above.) You can still locate a rare copy on line.

Some newer, color copies of the strip can be found on line here.
Tom also does some political cartoons for the site here.

The movie never went into production. I couldn’t raise the funds – my inexperience. We did make one short segment – a two minute piece that was the most hilarious strip. Sheldon Cohen, an animator I met at the Ottawa 76 festival, came to NY when I offered him a job on Raggedy Ann. Sheldon, ultimately, did a number of films for the National Film Board which you can watch on-line if you click on his name.

Sheldon animated this particularly funny strip. It took a while for him to animate it, and by the time he was finished, the feature had died and I had lost some interest. Years later I inked and painted it and had it shot. The short piece was never finished, though I still think about doing that.

Tom also recently gave me a funny strip about Pablo Picasso sculpture for which I’ve finished a storyboard and animatic. Hopefully, I’ll get the energy to animate it.

Aside from Gertrude, both Tom & Joey worked on a number of my films and still infrequently do. The two have painted many murals on the Jersey Coast, where they currently live. Tom has been a political cartoonist for the NY Daily News, has done lots of airbrush work for Bob Blechman when the Ink Tank was in operation. He also has done quite a few cartoons for The New Yorker magazine.

Here are a few of the strips to give you the flavor. Perhaps next week I’ll give a sample of our storyboard, comparing it with some of the actual strips. Enjoy.

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(Click on any image to enlarge so that you can read the strips.)

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- Here are some Time Magazine covers by Jack Davis from 1973 & 1974. These pieces are part of Bill Peckmann‘s amazing collection and I’m glad to showcase them here today. Thanks Bill.

This of course, isn’t a Time Magazine cover but
the cover to Jack Davis’ book of collected works
Some of My Good Stuff.

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- The bulk of this piece was written in May 2006. I only feel stronger about anything I’ve said in it and have done some minor additions to the whole.

Matthew Clinton came to my studio in 2003. After a years worth of correspondence between us and my viewing his senior film dozens of times in multiple versions – all of which I found totally enticing and absolutely compelling to watch , I offered Matt a job and did what little I could to support his arrival.

He came quietly into my studio and immediately took hold with his innate gift for masterful animation. What follows are hi-contrast frame grabs from his thesis film, Cinderella Steinberg. I interpret the film as an examination of the overwhelming power of art on the recipient, in this case poor Cinderella. Tomorrow, we’ll look at some of Matt’s work in the past three years. I urge you to enlarge some of the images; each frame of his film is a multimedia construction in itself. Leaves and dirt and straw and a Steingberg painting.

(Click on any image to enlarge.)

One of the first pieces he worked on was animation for an HBO special entitled HAPPY TO BE NAPPY AND OTHER TALES OF ME. As a new guy, Matt was supposed to be plugging in some animation bits to fill out the show. I gave him lots of pieces that ended up dancing around my less poetic animation. He helped define the art style to match illustrator Chris Raschka‘s beautiful, loose watercolors.

Then, for the same show, I gave him a number of more limited short films to animate, himself. In the end, the two of us did all of the animation for the half-hour show (about 17 mins) in 2½ months.

Things got quiet for a bit, and he helped define the style of my in-progress feature, POE. We wanted it to match the daring graphics Jason McDonald was putting into his storyboard pages. Matt found a solution once I defined the problem.

With The Man Who Walked Between The Towers, I dove into the meat & potatoes animation for the 10 min film and gave all the poetic pieces to Matt and Tissa David. By this time, I was aware of the talent I had working for me.
The scenes where Philippe Petit first steps onto the highwire were those done by Matt. Of course, I directed and coaxed elements I wanted from the scenes, but it was magic finding someone who so easily and quietly was able to give me what I sought and do it with such sublime grace and ease and so little fanfare.

There were three films for PBS’s Between The Lions.

Sheep On A Ship is almost completely Matt’s. It was a delicate watercolor style from a best selling book that we had to match exactly. Needless to say, it did.

Here are stills from the PBS show,
Between the Lions:
Sheep On A Ship

(Click any image on this page to enlarge.)

There were also five DVD’s we did for Scholastic & Fisher-Price. Each featured a world class, famous children’s book and included about 60 minutes of animation to illustrate the book and games included. Jumping over five different illustration styles in a few months and animating emotionally and delicately, Matt was able to always rise to the occasion and perform as a first rate actor with delicacy, grace and charm.

Corduroy for Scholastic/Fisher-Price

I obviously love this guy’s work. No doubt he brought a lot of knowledge away from CalArts, but he also brings an inherent world of taste dignity and charm to everything he does; that wasn’t learned in school. Matthew Clinton’s a rare talent.

By now, Matt just about runs the animation end of my studio and he’s earned my full trust and support. It’s gotten to the oint where I wonder how I could operate without him.

The following is an article by the animation artist Raoul Servais. He was a major force in the international scene when this article was published in Animafilm #1 back in 1979.

The Artist and His Profession
by Raoul Servais .
I have been asked to present my opinions on questions which determine the relationship between the author of an animated film and his profession, and the ensuing interdependences: I will,confine myself to outlining an opinion which is perhaps applicable only to artists working in more or less similar conditions. The relationship between the author of an animated film and his work differs so greatly in various countries, depending on socio-economic conditions, the organizational structure of production and, of course, individual talent, that it would be risky to proclaim a universal opinion applicable to all cases.

The first problem that was suggested to me as a subject for reflection is the relationship between the author of a film and the techniques used in that discipline of art. The “picture-by-picture” art is undoubtedly an artistic profession that pays an extremely high tribute to technology. After all, cinematography is, by its very nature, a phenomenon produced by mechanical optical instruments. But the scientific aspect of this assertion about an art discipline is not confined to mechanics and optics; it also includes electricity, chemistry, physics and electro-acoustics. Cinematography, which is going through a process of technological changes, now makes use of new means of expression offered by modern audio-visual techniques that have arisen as a result of the vigorous development of electronics.

Emphasis has been placed on two manifestations of man’s genius which at first glance seem to be poles apart and concern different interests. On the one hand we have artistic work with everything that can be provided by imagination, poetry, lyricism, spontaneity, subtlety and improvisation; on the etching needle, that is, people whose scientific knowledge is confined to Chinese white or cobalt blue, seems to be incompatible with what we expect of a film maker: profound knowledge of the technical possibilities of his profession. In spite of this, the overwhelming majority of animated film authors are students of the brush, the chisel or the etching needle, that is, people whose scientific knowledge is confined to Chinese white or cobalt blue.

I am of course exaggerating for like everybody else I do not deny that some outstanding animated film masters are brilliant scientists; besides, it is a known fact that extremes meet; mathematics is said to end in poetry, a phenomenon I have not experienced myself so far. Nevertheless, it is a fact that the authors of animated films are mainly former painters, engravers, graphic artists, book illustrators or sculptors who have very little, if any, knowledge of technology. I know many animators who though
known for a long time have remained completely ignorant of technology, either because they do not take any interest in the subject or because they do not want to fritter away their energy. These artists do however turn to technology for help when they find this necessary or when this is indispensable for the implementation of their ambitious plans or useful in commercial production. I cannot, however, help thinking that they lack a certain dimension, for knowledge of one’s instrument can also be a source of creative inspiration. It is indispensable if one wants to experiment in the field of visual arts.

I do not think however that scientific talent is an absolute necessity to master technology. I may serve as an example to many artists in this respect. This allows me to speak of myself with less restraint and fewer scruples.

It is my firm conviction that youthful interest in technology is due to two different reasons. The first is pure scientific curiosity which forces us to master our tool by learning its anatomy and the way it works. A child that dismantles an alarm clock part by part in order to get acquainted with its mechanism could serve as an example here. The other reason – and this was my case – is the surprise an artist feels when he realizes the complexity of the instrument which allows him to put his artistic ambitions into effect. I was still a little boy (I was 5, if I remember correctly) when I fell under the spell of cinematography. I had been making drawings for a number of days and my grafitti combined to make a tale. I also liked to tell stories. One day my father, who had a Pathe-Baby projector, showed me the animated cartoon Felix the Cat. The film aroused my admiration and became a spark which helped me to realize my mission. Without my father’s knowledge I would unwind and analyse films in order to understand the mystery of motion, but I never took the trouble to see what a projector looked like inside. This instrument – and it was a holy thing for me – was like Pandora’s box which you could not open without running the risk of seeing the charm disappear. I still have a similar approach to the instrument which has produced the fruit of my reflections. I simply worshipped the old Debrie camera with which I made five or six films and I am still full of admiration for this sophisticated instrument. I have always been my own cameraman and I know the possibilities and limitations of the cameras I use; the invisible wave-like murmur of their mechanism tells me when a breakdown will occur. But once the camera goes out of order and the defect is of a mechanical or electric nature, I am completely at a loss and cannot understand what has happened.

This personal story is to show to what extent and in what respect an artist may acquaint himself with a rather complicated instrument without being technically-minded. It is also meant as an introduction to the essence of my subject, an introduction that will allow me to pass on to what worries many animators; I have in mind their adaptation to new technical possiblities. Many film makers fear a confrontation with such sophisticated instruments as a computer or a video synthetizer. I am no exception here, having come across these fantastic machines on several occasions. I must have been impressed by their complexity or by the learned appearance of the programmers, for I cannot help thinking that my unscientific mind would not be able to exercise sufficient control over a computer. I might be able to overcome my fear if I could play with it for several weeks and had a book with basic information on how it works. I must admit that it would give me great pleasure to be able to shorten the production process of an animated film by the use of a computer. I think, however, that as things stand now the computer has very limited stylistic possibilities. Like John Halas I believe that computerized animated film will develop alongside the old kind without replacing it. It occurred to me when I was recently making a film combining actual photography with animated cartoons that the video-technique would considerably shorten the time of production. But here again I felt that I would not be able to exercise sufficient control over the picture. I am used to the solitary effort of a cottage worker. Production of a film in a laboratory with technicians paid by the hour would probably fail to spur my creative spirit. I may have been “spoiled” by years of work in conditions of uncertainty, which I experienced at the beginning of my drive to creative work.

And so I come to the next point in my reflections: the animated film as an independent art.

I think that two main aspects can be distinguished here: the aesthetic and the economic aspect of the problem. Let us have a look at the aesthetic aspect first of all. We must agree that it is extremely difficult to determine a priori the degree to which one art depends on another, especially in film art where such disciplines as music, comedy, photography, etc. are primary elements. In the case of animated films we must add other factors relating to visual arts (painting, sculpture, drawing, etc.). I do not think anybody has any doubts about the authenticity of film art. Other artistic disciplines which may become part of a film only play the role of ingredients and bear no responsibility for the nature of cinematographic art itself.

Similar is the case of the animated film. The elements of painting or drawing which go to make an animated film are not a value in themselves but elements meant to achieve a different form of artistic expression which lasts for a fixed period of time. But if this is so, you may ask, what is the place of kinetic painting? Is this also an art independent of painting as such since it also brings movement into the film? To such questions I would reply that enumeration of fine arts is an obsolete way of summing up man’s artistic abilities, for different kinds of art have more and more a tendency to penetrate one another or can be reduced to primary factors and become new disciplines. The definition of art less and less frequently allows us to strictly determine where art begins and where it ends. Consequently, how can we fix the borderlines between various disciplines of act and say to what extent one discipline of art depends on another?

To dispute about the authenticity of animated films compared to other film genres is just as senseless as discussing the sex of angels. Some people will say that a film with actual photography perpetuates real action in order to present it in the desired context while an animated film is wholly a product of the imagination and a direct synthesis of this imagination. This is true, but on the other hand ths viewer, especially if he is an outsider, will experience the same physiological and psychological impressions when seeing both genres. In short, animation is only a different form of film art, a form that is subject to various influences or changes as a result of technological process, i.e., video-graphy, computers, holography and whatever may come. As far as the economic aspect is concerned, I think we can on the whole assume that the animated film is subject to the same laws as all the other film genres. If animated films are rather a marginal production, this is undoubtedly due to the fact that feature-length animated films capable of exercising an influence on the film industry are relatively few. I think however that it is just ar risky for a producer to produce a short animated film made by an artist as it is to make a short film with real-life photography. In any case it is obvious that it is becoming increasingly rare to see a short film in commercial cinemas. The fact that television can be a wonderful market for mass consumption but is a poor solution for films designed by individual artists has been known for a long time.

The third sector, known as the non-commercial sector, has at its disposal a large distributive potential and could make good the deficiencies of the other two distributive channels, especially with respect to animated films made by individual authors. But it is still bound by too many restrictions to be able to guarantee profitable production.

Since animated films are distributed by many companies, there is no planned policy of popularizing this medium in a better way. (This defect could of course be made good by ASIFA, which should not however replace distributors but supply information to distributors and all interested persons). But the market in question is insignificant at the moment, except for the United States, where in view of the large size of the country (especially as on the whole Canada is also part of that market) distribution can be conducted on a large scale. ‘This is not the case in Europe, where no country is large enough to make use of this sector. Moreover, customs regulations do not favour a free flow of films. Let us add that in North America institutions of great cultural utility (museums, libraries) have for long regarded the animated film as an artistic medium of no less importance than painting or literature.

Our European conservatives fully deserve to be called conservatives. The animated film is barred from their temples and most probably they do not realize that the animated film can have different forms, not only that of a cartoon shown on television. ASIFA is an organization which could organize a large-scale informative campaign to wake up academic circles from their sleep.

To conclude these reflections I would like to express my deep conviction that the animated film is undoubtedly one of the best means of fully expressing human emotions and that it will find more and more adherents as science succeeds in reducing, if not eliminating, the boring and cumbersome aspects of this discipline and as man feels himself more and more free in the full sense of the word.

Raoul Servais
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Illustrations:
1. Raoul Servais
2. False Note 1964
3. Sirene 1968
4. Chromophobia 1966
5. Goldframe 1968
6. To Speak or Not To Speak 1970
7. Pegasus 1973
8. Halewyn’s Chant 1976
9. Harpy 1978

- For a whilie Bill Peckmann was the Associate Editor, with John Benson editing, of a magazine called PANELS. Needless to say this was dedicated to comic strip and animation art. Here from Vol 2 of the magazine is an article by Alex Toth on Jesse Marsh.

This was the cover of that second issue.

This is the contents page.
(I’d love to see the Carl Barks article.)

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This cover is inset int0 #8 in B&W.
This is it in color from Bill’s collection.

The back cover of the issue.

Needless to say, many thanks to Bill Peckmann for this piece.

- This is the second half of this scene which is one of several connecting scenes I have from All the Cats Join In. Animated by Ollie Johnston in his very cute style, with panache.

As usual we start with the last image from last week’s half.

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The following QT movie represents all the drawings of the scene,
including the drawings that were displayed last week.
It’s exposed as per the drawing numbers would indicate.

Click left side of the black bar to play.
Right side to watch single frame.

Many thanks for the loan of this scene by Lou Scarborough.