Michael Sporn Animation – Splog

Bill Peckmann sent scans of this glorious and beautiful children’s book by Martin Provenson. There really, as far as I’m concerned, is no reason necessary. The illustrations are just beautiful, and I find myself staring at them for long periods of time. It’s a great book.

Bill writes the accompanying note:

The reason I have this book is because when George Cannata Jr. was our Animation Design teacher at Visual Arts in 1960, he recommended that his students buy it because it was known as the “animation designers bible” in those days.

The oversized book cover

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This post will stay up Saturday as well – until Verizon gets its stuff together.

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- John Canemaker contributed a two part article on J.P. Miller to Cartoons, the International Journal of Animation published by ASIFA Int’l. The two part article appeared in the Winter 2006 and Spring 2007 issues.

John Parr Miller was a designer who worked at the Disney studio from 1934 to 1942 as part of Joe Grant’s elite Character Model Department. After his service in WWII, he became a children’s book designer and author remaining in that field for the remainder of his life.

J.P. Miller’s career at Disney’s is not something we often hear about, and I think the information in John’s extended article is so valuable that it has to get out there even further and be shared more openly. Consequently, with John’s permission, I’m posting both parts.

This is part 1:

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(Click any image to enlarge.)

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- Last week I posted the first part of a two-part article written by John Canemaker for the magazine, Cartoons, the International Journal of Animation published by ASIFA Int’l. The two part article appeared in the Winter 2006 and Spring 2007 issues. (See Part 1 here.)

John Parr Miller worked at the Disney studio from 1934 to 1942 as part of the Character Model Department run by Joe Grant. After Miller’s service in WWII, he designed and illustrated many children’s books and he continued in that field for the remainder of his life.

This is an extraordinarily well-researched article by John Canemaker, and I’m pleased to post it here for all those who don’t have access to the magazine, Cartoons. Thanks go to John for his permission to post both parts of the article.

With more of a focus on his children’s books, this is part 2:

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(Click any image to enlarge.)

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I apologize for any problems you’re having with the Splog just now. Verizon is a tough foe who cannot do their job correctly despite the high prices. They promise everything will be in order by Sunday July, 7th. I can only hope and keep trying.

Michael

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A couple of days ago I posted some attractive designs that were done in the late thirties/early forties in preparation for the making of the animated feature, Bambi. The drawings were quite beautiful, and they led, without a moment to spare, to Bill Peckmann‘s forwarding some amazing comic strip pages. The Disney studio published an accompanying comic strip for the newspapers.

Bill Peckmann writes:
“our friend Germund von Wowern sends this
front cover of the first Bambi (1942) comic book.

And he sends:
. . . the inside front cover (which was also
in full color in this comic book, something
I’ve never seen, usually inside covers were
two color or B&W).

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I am one of those insane people who is in love with Carroll’s Alice in Wonderland. I also am devoted to Ralph Steadman as probably my favorite illustrator. Steadman has published a glorious version of Alice, and I need no more than show some of the illustrations. Here’s the first in a series of posts of Alice by way of this original artist. Truly different from anyone else’s version.

The rumor was that Steadman had seen Meryl Streep performing as the lead on stage in New York, as part of the Joe Papp’s NY Shakespeare Festival, and he’d never been able to get that image out of his head.

I can quite understand since I also saw that very odd and interesting production and still remember it well.
I hope you enjoy this art as much I enjoyed working these images. There’s a lot more, and it will come in parts.

The book’s cover

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The book’s cover

As I’ve pointed out in this series, Alice in Wonderland is my favorite children’s book. and Ralph Steadman one of my favorite illustrators. His work is so intelligent; his art so British and sophisticated, these two were the perfect pair. I think Charles Dodgson would have selected Steadman, himself, had his art been discovered back then.

Here then is part 2 of some illustrations taken from Steadman’s book:

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John Canemaker‘s book Paper Dreams: The Art & Artists of Disney Storyboards, is a brilliant work. As an example, take a look at this short piece for Alice In Wonderland.
The animated feature went through a long, slow birth.

The first board, for this sequence, was by David Hall and was done in 1939, the late Thirties. Hall was originally a production artist for Cecil B. DeMille at Paramount Pictures; he worked as an illustrator who was called in to make many delicate watercolors. There was one sequence from the Carroll original which was kept for the final film. In it, Alice gets trapped within a house when, having bitten into a cracker, she suddenly starts getting larger and larger until she fills the white rabbit’s home with her head and overgrown body parts. Many a creature try to pull her from the house.

Here are some of the Hall watercolor images:

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Following his version, there was an attempt at a script by novelist Aldous Huxley. Done in 1945, this was ultimately abandoned when storyboard continuity artist, Joe RInaldi, came in to make some more cohesive and funny drawings in 1950.

Here’s the full sequence, Rinaldi’s version.

The following is Rinaldi‘s board enlarged for the sake of legibility:

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I have to give John Canemaker many thanks for allowing me to post these images. His book is a treasure. to those who appreciate the storyboard.

I’m sorry for the absence of the Splog today. We’ve had some great difficulties with Verizon this week. Service has been interrupted. I’ll try to keep something posted until I can get things back in proper order.

- It all starts with a drawing.

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The brilliant host of cartoonists that came before us were an amazing group. To think of the complicated set of characters that the created. Characters with complex personalities and sophisticated drawing techniques.

Those characters went trough the mill in my own life time. Seeing the horrendous things that have happened not only to Mickey, Donald and Goofy but to Bugs, and Daffy and other Warner’s Bros characters. It’s been shameful.

I was going to post illustrations of some of those bastardizations, but I think it’s enough just to mention some of them.

Think of the Mickey Mouse Clubhouse running now on the Disney Channel. If ever there was proof positive that cgi weren’t cartooning, that would be it. Those are very unsophisticated digital puppetry shows where every move is obvious and preplanned, the voices are hideous, and the stories nowhere sophisticated enough to call trite.

Take a quick jump from those to the flash animated whirls that are being released with a lot of fanfare, and you’ll see what can go wrong with animation of stars. They may as well have dug Marilyn Monroe and Clark Gable out of the ground to allow the computers to move them as well. Like all new animation that’s being called good, these beasts-of-films are moved at the speed of light where no move gets to have any personality. Think of that naked Mickey in the most recent release. A thin slime of a creature, all black, that looks like a clam being animated by a Jim Tyer. There isn’t a pose in the film that could compare with what Terrytoons did – Terrytoons, the bottom of the barrel. They had personality all over these poorly drawn efforts.

There were the old Greg Ford versions of the WB characters for theatrical release, compilations of old with new. They were all mediocre but had the honor of the past directors in mind. The Bakshi Mighty Mouse cartoons were a take on their group of characters, but you had someone with a personality, Bakshi, trying to do wonders with a library of “B” stars. Even with the TV budgets, they were trying hard to do something, and often they were successful.

Today it’s all for poor exploitation, and no one is trying to do wonders with their characters. It’s all too sad.

The WB characters have had even greater attempts at poor art. You don’t have to think back too far to remember the sitcom version of the characters now running on Cartoon Network, also done in Flash. Think back to the poorly designed wretches that WB issued to their local network of stations, the WB. Those poor animated creatures were redesigned versions with scales and all. It’s just about time to scream, “Enough!” Is there not one executive who can offer some honor to these golden characters of our past? How much do we have to watch?

Why did these studios create their archives? Was it just to resell the goodies or was anything preserved so that the future animators could do right by these characters?

- It all starts with a drawing.

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That’s all I can think. With that I’m just going to post a number of gems from Bambi. These had to have had some purpose greater than feeding Bambi !!. Or maybe I’m wrong.

Bambi is, to me, one of the most beautiful of animated features. Collectively, the artists at the Disney studio pulled together to create some wonderful artwork which produced a wonderful film.

The initial work went through many phases, as would be a natural state for animation. However, all of the artists seem to be trying for a higher plane, and oftentime they reached it.

To celebrate the latest release of this film, the Blu-Ray/DVD version, I’ve pulled a lot of the drawings from the film and post them here. It’s amazing how much influence Marc Davis had early on. I can only ID the artists of some of the sketches. If you know, let me know. We have to continue to ID these artists. Without their names we just have these flash animatedMickes that don’t even include one credit. And maybe they shouldn’t be credited; the work is so embarrassing.

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David Hall

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(above and below) Marc Davis

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David Hall

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(above and below) Ken Peterson

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David Hall

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Marc Davis

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Murray McClelland

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Fred Madison

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(Probably) Gustaf Tenggren

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Frank Thomas

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Marc Davis

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Lynn Karp

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Ken Peterson

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Ken Hultgren

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(above and below) David Hall

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A Tyrus Wong pastel sketch.

- To me, Lewis Carroll‘s nonsense poem, Jabberwocky, is one of the most brilliant pieces ever written. It’s always been important to me, and I’ve collected many versions of it in illustrated versions. Now that I mention it, let me confess that I’m a Lewis Carroll addict, and Jabberwocky is one of my favorites among his many poems.

In film, you have the one live action feature by Terry Gilliam; it’s a good film with a clunky monster in the end. In animation, professionally, I know of only two versions completed. One was by Jan Svankmajer done in 1974. I did a version of it in 1989. Mine, of course, sticks closer to the poem even though it is pretty “arty”.

Apparently, there was also a version Disney was preparing as part of Alice In Wonderland. A book was published, credited to the “Disney Archives,” with illustrations from the preparatory drawings of this sequence. It’s obvious that the final versions of these drawings were done by one person, but there’s no record in the book of who did the finals. I’d read somewhere that Marc Davis had a lot to do with it, at one point. Though he obviously was most involved with Alice, herself.

I’m not in love with the images in the book. I like the technique used, but I find the images too cute. Though, it’s amazing how current they look.
(Click on any image to enlarge.)

I’m going to give you a number of the book’s pages today and, in comparison, will follow it up with images from my version tomorrow.

‘Twas brillig and the slithy toves
Did gyre and gimble in the wabe;

All mimsy were the borogoves,
And the mome raths outgrabe.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!”

“Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

He took his vorpal sword in hand;
Long time the manxome foe he sought -
So rested he by the Tumtum tree
And stood awhile in thought.

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,

Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!

He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

Jim Hill talks a bit about this book on his site in a letter response. here.

For amusement, you might check out this site for translations of this poem into 58 other languages, 23 parodies of the poem, and 10 explanations trying to define what Carroll meant by it.

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I’d like to post here a few of the images from my short adaptation of the Lewis Carroll poem, Jabberwocky. In doing the film, I tried to mimic a style I’d used in my oil paintings and felt it was a bit successful. I don’t think the filmed version is all it could be – it was rushed to complete a package which included the 19 min. film, The Hunting of the Snark, as well as an animated documentary done about Lewis Carroll’s nonsense poems. Of course, the video package wouldn’t have made sense without including Jabberwocky.

(click any image to enlarge.)

But I’ve scanned these images from the actual artwork and realize how well they’ve held up. I’d like to redo the film digitally someday and see where I can go with it.

Here are some of the images:

‘Twas brillig and the slithy toves,
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!”

“Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

He took his vorpal sword in hand;
Long time the manxome foe he sought -

So rested he by the Tumtum tree
And stood awhile in thought.

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,

Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through

The vorpal blade went snicker-snack!

He left it dead, and with its head

He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

‘Twas brillig and the slithy toves
Did gyre and gimble in the wabe;

All mimsy were the borogoves,
And the mome raths outgrabe.

- Here are the illustrations for Tooooot! which is a book illustrated by Paul Julian in 1958 to a text by Betty lou LaWell.

It’s a two color book (black and blue) as were many books of the period. I’m always amazed at how much illustrators of the time got out of the limited color printing. So many big books (by the likes of Dr. Seuss, Bernard Waber, Maurice Sendak among others) were published at the time with more imagination than many of the current books with full color.

The artwork, unlike his other book Piccoli, is composed of graceful and delicate line drawings with the simple, flat color. The work looks very much a part of the brilliant illustrations and art coming out of the 50s, influenced by Ben Shahn and Gregorio Prestopino.

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- The brilliant artist/designer/background artist, Paul Julian, illustrated a stunner of a children’s book in 1953. Piccoli is the story of Piccoli Sogni (little dreams) a tiny girl who lives in a matchbox. A stranger gives her as a gift to a sad young boy. She helps to inspire him creatively.

The story is by Phillippe Halsman which he had written for his daughters. He was a celebrated photographer who worked with Salvador Dali on the book Dali’s Moustache. In 1958 he was chosen as one of the 10 greatest photographers in an Internation poll. His 1959 book, Philippe Halsman’s Jump Book, collected more than 200 recognized photographs.

Paul Julian, of course, is well known by animation enthusiasts as one of the principal background artists for many of the most famous Warner Bros cartoons. He also gained some fame for his art direction of the UPA masterpiece, The Tell-Tale Heart.

His work has always seemed just slightly this side of the surreal, to me. His color choices were masterful and the many backgrounds he did reflect his own style. See this excellent post by Hans Bacher on his important blog, Animation Treasures.

John Canemaker loaned me a number of color copies of the book, and I tried to get an accurate read on the colors from the copies, but I suspect they’re still a bit off. Here are Julian’s illustrations for Piccoli:

The inner cover of the book.

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At times the art looks influenced by Gregorio Prestopino.

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This is actually a composite of two different illustrations
on two separate pages in the book.

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