- Len Glasser had designed a number of pieces for Perpetual Motion Pictures. I wrote last week about two pieces that were designed and work was done on a job for CBS and their weather division. Ed Smith animated the originals which were killed and never aired. At some point a couple of years back, Vince Cafarelli built a miini-film out of what they had done. He animated anything they needed to complete this one flm. It’s built on a snowman that comes to life; the film was taken to its conclusion, but nothing was done with it beyond that. (I’ve suggested that they make an animated Christmas card out of it and send it out to everyone. It’s certainly entertaining enough.)
I’ll post every other one of the animated drawings here so you can see the animation and accompany them with the final QT movie of the piece. It should make a nice little post.
Here are the drawings predominantly animated by Ed Smith directly in pen onto paper. The drawings were xeroxed and/or inked onto cel, colored and shot traditionally. Here are the paper drawings with one or two odd comments added. Rick Broas helped Vince complete it.
The Background to scene 1
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This is part of a cycle of the snowman banging
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This is the best look we get (on this animation level)
of the character the Snowman terrorizes.
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Wth this drawing the kicked guy moves
to another level as he fles into the distance.
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Background 2
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This even-numbered drawing is where the second scene,
the interior, begins. So I included it to the group.
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I like how the snowman, having fallen in front of
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He falls back, naturally, and then comes up toward us as he
starts to melt. This little accent by Vince, in animating him . . .
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. . . seems to signal that, for the first time, the snowman
has found a release and can now be happy.
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The End
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The final mini-movie
(I looped it. It could have used a hold at the end before starting over.)
“God bless us every one!” said Tiny Tim, the last of all.
This was a hand-me-down post I’d done my very first Christmas on-line. It’s still a beauty of a cel I own.
It was from a scene Richard Williams animated for his Christmas Carol. The drawing was done on cel not on paper with a mars omnichrome pencil. Hence, the inking is Dick’s, as well. Dick’s tightly strung version of the story is still available in old vhs copies. You can also find the entire film (in three parts) on The Thief Archives on YouTube, and it’s still a beauty.
I remember Dick having a conversation with me about the brilliant animation Abe Levitow did on this film, and, indeed, I agree. In a film filled with stunningly beautiful animated illustrations, my favorite character animation was done by Levitow. The sequence wherein the ghost of Christmas Past opens his robe to reveal “ignorance†and “want†is the capper of the show.
The film, I think, done in 26 minutes is a little too rushed to properly tell the Dickens’ story emotionally, and it’s an emotional story. What’s there is as brilliant as anything Dick had done. In some ways, the artwork reminds me of the cross-hatched animation his Soho Square studio did for The Charge of the Light Brigade. (In fact, when I first saw the show in 1971, I wondered whether some of the birds in Christmas Carol were reused from Charge. I never learned the answer.)
David Nethery has posted a cel from Abe Levitow’s sequence – probably my favorite scene in the film comes from this sequence. It’s the scene where Christmas Present moves back his robe to reveal the two children – “ignorance” and “want”. I think I disappointed Dick when I told him this years ago and hadn’t named one of his scenes. Given the way Dick worked on Raggedy Ann, I’d guess he did the cleanup on these scenes as well.
As limited as the animation is on Magoo’s Christmas Carol, it’s still probably one of the best versions of the film ever made. Actually, the Magoo version is probably tied with the 1951 Alastair Sim version of the film.
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I wish you all a Merry Christmas full of the kind of joy Scrooge finds when he wakes up.
“I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy.
I am as giddy as a drunken man. A merry Christmas to everybody.
A happy New Year to all the world.”
I’ve received a number of emails of collections of Christmas cards done by various artists. These are usually entertaining. However, I’ve found a number of my cards among quite a few of these groups, and I find that a bit awkward. I never quite sent them expecting they’d be published in any way, but I’m certainly going to roll with the punches. I’m not sure everything I post is designed to be published, either.
I did publish pages of a book which had posted one of my cards, and I did have some qualms about reposting those pages. Since one of them was mine, I figured that relieved any guilt I was feeling. So much art just wouldn’t be seen if it weren’t put on blogs like mine, so I justify it.
The image above came from an animated card I didn’t finish. It was a little dance Santa does as he eats an ice cream pop. It ends with a burst of snow spelling out the “Merry Christmas” message. I spent about . . . I don’t know. I spent a lot of time animating and coloring , and I still had about 15 seconds of art to finish it. But I missed the deadline. I would have had to kill myself and still probably miss getting it out ON Christmas Day. Absurd.
The real problem was that I hated the work that I’d done. It wasn’t something I was really proud of. There were too many distractions and I loved doing it on a day to day basis, but I’d forgotten to watch the big picture. Put it all together, and it didn’t need to go public. So, I apologize. No Christmas Card this year.
To all those that haven’t received anything from me, which means anyone reading this Splog, please accept my apologies and please, Have yourself a Merry and Big Christmas.
Artist’s Christmas Cards
- From Bill Peckman:
Here are some Holiday and Christmas cheer cards from over the years, done by some of our favorite pen and brush men.
First through the mail slot is Jack Davis.
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The following are Harvey Kurtzman‘s cards:
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And now from the gifted hand of Arnold Roth.
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A terrific threesome from Wally Tripp!
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Thanks to Suzanne Wilson for these Christmas chuckles from Rowland Wilson.
- Steve Fisher captured some beautiful imagery of twilight hour. The cold crisp air is almost visible in these shots of a subtly decorated New York City. You can almost look forward to that first cocktail of the evening as an exhausted city tries to quiet itself down. As Steve writes:
Yesterday, a fast-moving rain shower produced some quickly varying lighting. Here are thirteen snaps I took in a twenty minute period.
- There’s something nice, for me, about Saturday mornings. I usually wake up somewhere between 5 and 6 am. I sit down at a computer and do some writing. It may be something new for the Saturday blog or something new entirely. It always has to do with the blog, though maybe I should think about that. Perhaps do a bit of writing that might actually pay something. Naaaah! That might take away from the fun.
The two boy cats are asleep, one on the couch the other on the floor. Within a few minutes they’ll be kickboxing and making a lot of noise. I’ll have to break them up, and they’ll go back to their places, then back to sleep. Until I get off my butt and feed them some breakfast. AMC runs old episodes (I think that’s the only kind there are) of The Rifleman. This, like TV Land’s Andy Griffith Show, are a real pleasure for me. I was the age of the kids in those shows (Johnny Crawford as “Mark” and Ron Howard as “Opie”) when i watched them, originally. It brings something emotional back for me to sit through them again. It’s like comfort food is supposed to be, for me. I actually wondered if you were to take the script for one of those Andy Griffith Shows, with all the innocence about them, and remade them – it’d have to be a new cast – as is, verbatim. How would they turn out? The script has all that original, innocent emotion behind them, and none of the new cast or crew would have that. What would be lost, what would be preserved? I’d really love to try it some time with no sarcasm or irony whatsoever.
Until then, I just watch a couple of episodes every Saturday morning. Then it gets time to get things going, and the world changes back.
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Kickstarter Small and Smaller
Mark Sonntag continues with his goal of raising $10,000 to make a film of “Bounty Hunter Bunny“. This is an attractive looking cgi film that seems to attempt to bring some 2D dynamics to the world of cgi. Mark’s a very astute guy; his blog takes in enormous detail fastidiously, and I would expect that to be the same of any film he produces. That’s why I have a lot of hope for this short movie.
This would push back at what continually is the failure of the recent WB projects – attempting to animate Road Runner, Daffy and Porky in cgi moving at manic speed and pretending like the dynamics haven’t changed. I think Mark gets the difference and would succeed where the WB millions are failing.
You should, at the least, take a look at what Mark has put together on his Indiegogo page.
To go from one small effort to raise money to one much larger but yet, still a small effort, Bill Plympton has a Kickstarter campaign going strong. He’s trying to raise $75,000 to finish the feature he has in progress, Cheatin’. To us poor guys (Bill included) $75,000 is a hell of a lot of money, but to the world of feature animation it’s nothin’. Just take a look at some of the films out there now. Rise of the Guardians had a production budget of $145 million. Wreck-It Ralph was $168 million. Brave cost $185 million. ParaNorman was cheap in comparison at $65 million. It feels like Bill is cheatin’ with a budget of about $200 thousand.
Anyway he has a Kickstarter campaign in progress and you should take a look there. If anyone can raise that kind of money on line, he’s the guy. It’s entertaining just watching it proceed. At the moment let’s just say I’m introducing this one to you. I’ll have more to write about it in the New Year. In January, I’m starting a brand new series for this blog and am starting with Bill and his studio. There’ll be plenty to write about the Kickstarter campaign then.
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Facebook Rocks
And then there’s another way. Signe Baumane has requested people visit her new Facebook page dedicated to Rocks In My Pockets, the animated feature she’s been producing/directing/writing.
To start with she asks you to “Like” her page, her film. She thinks that’d help her move to the next step on Facebook to raise money through them. I really don’t know how Facebook works. I go there once a week or so and avoid the “farms” and resist the “old friends” who don’t know me. I see the little tweets that are trown there and once in a while I add my three cents to the short, pulsating conversations.
Hell, if there is a way to cntribute money to Signe from Facebook, do it. She needs the money and her film is going to be great. I saw a rough cut. I wantedto be closer to the small monitor, but it was so compelling and the story just addictive. I want to see it again, finished. Give this woman money to do what she has to do to get it done. If you can’t give it to her via Facebook, just find her home address in Brooklyn and send it there. I assume she’s going to put together a Kickstarter thing and I’ll promote that too. I believe in this movie, let me tell you.
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Luncheon
On Monday there was a lunch at the Illustrator’s Club for a documentary film, The House I Live In. This film by Eugene Jarecki talks about the failure of America’s drug wars. The end results mean that the United States houses an enormous number of our poor and underprivileged in prisons. It’s a difficult dilemma, and there have been no successful means yet found of fighting that problem in our society. This film is one of the short-listed documentary features, and, of course, the lunch was designed to catch our attention in the hope of a vote.
I was very impressed, first off, with the Illustrator’s club. Amazing art adorns the walls at every turn. To walk past a Howard Pyle original and come upon an Al Smith original Mutt & Jeff strip alongside a Milton Caniff. The stars hung everywhere, and I was overwhelmed. The meal they served us was a wonderful and silky cut of pot roast over mashed potatoes and okra. It was an excellent afternoon as John Legend introduced the film maker, Jarecki, who spoke eloquently and made sure we all left with a copy of his DVD.
It made for a wonderful afternoon.
I came home to listen to the endless political talk about the shooting in Newtown, Connecticut. My brother’s family lives one town over, and my niece taught karate to one of the killed children. She had a photo of the girl on her cel phone. Nothing but tears this past weekend. The media treats the situation almost like pornography as they mettle in the lives of those affected. President Obama gave a brilliant speech and hopefully he will continue to lead the charge to get something done with gun laws.
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Dancin’ Cheer
Let’s jump from some capitalism to some outright theft. Eddie Fitzgerald found and embedded this guy’s YouTube video. I’ve been watching videos by this man – they’re all adaptations of dance pieces he creates scene by scene, country by country and puts them together always with the same effect. They’re absolutely joyous. Here’s the one Eddie had on his spot, and I’m posting it too. I imagine you will as well.
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More Lunch
I won’t take my usual turn this week by detailing a complete diary of my movie adventures this past week, but I will give you some of the highlights. On Tuesday there was a screening in the evening for David Chase’s first movie. (You’ll remember that he was the godfather of the Sopranos for HBO.) His film Not Fade Away is a love song to music of the 60′s, particularly the music of the British invasion. The movie was enjoyable, however the afterparty was excellent. The antipasto was on one level of the restaurant, and the main course was another level down. Table surrounded the upper level, and banquettes the lower level. Selecting some meats on the lower level, you couldn’t help but see a banquette or two full of Soparanos. Tony (James Gandolfini) in the corner, Paulie Walnuts (Tony Sirico) – without the grey side-burns – just across from him and Steven Van Zandt juat next to him. Little Steve had advised on the music for the film and had put together a great score of 60′s songs. Also there to be seen was Christine Lahti and plenty of others.
Wednesday there was the endless Quentin Tarantino film, Django Unchained. A genius of a half hour movie, and excellent 90 minute feature, and a tedious 2 ½ film. Guess which one it was. DeCaprio was really good, Sam Jackson was very fine, and Christophe Waltz made a brilliant character out of nothing, but evenhe got repetitive by his character’s end.
Thursday brought Matt Damon’s Promised Land. A bit preachy but quite a good script with excellent performances. Damon is so damn loveable that you can never think ill of him. He has that “Cary Grant” kind of appeal. I’ll see anything he’s in.
Friday saw This is 40 with Paul Rudd, who was excellent, and Leslie Mann who was in her best film. Leslie Mann was the director’s wife; the two children were also Judd Apatow‘s children. Let’s see who did Paul Rudd play? Many people complained of this film to me, but I loved it. Perhaps seeing it on a screen as opposed to a tv set made the difference. It really was a movie. Perhaps they thought it was one of those idiotic comedies Apatow has made in the past. Instead it’s just an honest and human story with some really funny parts.
Apatow and family appear to the right; Paul Rudd should have been a stand in for the director.
Melissa McCarthy was brilliant in improv for one scene of this film.
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Pi Again
I intend to see The Life of Pi again this week. I’ll go to a movie house and use my card to steal into a show. I think this was the best animated film of the past year. It keeps replaying in my head. I’m going to add a stash of screen grabs later. So look in again this afternoon or maybe it’ll be tomorrow. I loved this film. I think it’s still my favorite of the year.
Speaking of screen grabs, I received a DVD copy of Combustible this week. I’ve watched it about half a dozen times. I want to make a post of screen grabs from this cartoon. I’ll ask for their permission, and if I get it you’ll see the mages in their own post. I suspect they will say, “No”. It’s a stunningly attractive animated film that keeps getting better the more you see it. The film is very complex, but it’s also very cold. From the director of Akira, this film makes a lot more sense in only 13 minutes. I thought Akira was indecipherable. I have a lot of questions I’d like to ask that director, Katsuhiro Otomo. I’ll email his publicist and see if he’ll answer any of the questions.
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Spirits Consuming
I’d had lunch with Chris Sullivan, the director of Consuming Spirits. What a sweet guy. Let me remind you that his film is still playing at the Film Forum through to Christmas Day. A.O. Scott called this one of the best films of the year, on his short list of those just beyond the top ten. He wouldn’t give it a hard number.
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Magoo Does Dickens for 50 Years
Mr.Magoo’s Christmas Carol is 50 years old this year. The celebration brings this first animated Christmas special to network television for the first time in years. This has brought a little attention. There’s a fine article in the NYTimes discussing the special and quoting all the right people: Adam Abraham who wrote the relatively recent book, When Magoo Flew: The Rise and Fall of Animation Studio UPA and Darrell Van Citters, the animation director who wrote the excellent “making of” book, Mister Magoo’s Christmas Carol: The Making of the First Animated Christmas Special. These are both fine books and, for anyone interested in the subject of UPA, must reads. Both Adam Abraham and Darrel Van Citters have excellent animation history websites which, naturally, focus on the subject of their respective books.
The Times article has a wonderful paragraph in it, at least for those who love both Broadway and animation:
Jule Styne’s wife, Margaret, even hosted a party for the premiere, with about 100 guests at the “21†Club. Richard Kiley, Ruth Gordon, Garson Kanin, Joan Collins, Anthony Newley, Lionel Bart, Stephen Sondheim, Mike Nichols and others chowed down on a roast pig — complete with apple in mouth — while watching the special on televisions supplied by RCA.
See Magoo’s Christmas Carol tonight, Dec. 22nd, at 8pm on NBC.
For those with A.D.D., Magooo is on opposite Prep and Landing and A Chipmunk Christmas, both on ABC. I somehow doubt either special will last 50 years, but you never know.
A Shirley Silvey storyboard drawing alongside a matching Layout by Sam Weiss.
A brilliant and very limited sequence by Gerard Baldwin.
He had only two weeks to animate the “Despicables†song, yet
he completed it on time and kept it funny, personal and original.
- Continuing with a great wallop of Christmas from the vast collection of Bill Peckmann, he sends along another Carl Barks gem. A Christmas for Shacktown glows off the page, and I’m pleased as punch to post it here. Bill’s introduction:
What happens when you take Carl Barks at the height of his powers and combine him with that potent, powerful time of the year, Christmas? Why you get, ‘A Christmas for Shacktown’, that’s what!
The magazine cover
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The End
The original Dell Donald Duck ‘…Shacktown’ comic book
hit the newsstands for Christmas of 1951. The story we
just posted was from a Gladstone Comics reprinted and
re-colored some years later. This editorial essay by noted
Carl Barks historian, Geoffrey Blum, was also in the Gladstone issue.
- A new book has been released, Albert Dorne, Master Illustrator. This is a book to fill a necessary hole. The brilliant work of Mr. Dorne must be recognized, and this edition gives him that spotlight he well deserves. With the mere viewing of any of these pieces I am immediately made to think of the Famous Artists School of home education. Mr. Dorne created that school and system and certainly affected a generation of artists.
The book’s cover
Bill Peckmann, of course, brought it to my attention, and wrote the following to introduce this post:
This is more of a heartfelt plug than an in depth review, but the book is hot off of the presses, it’s great, and just in case anybody wants to get them selves a well deserved stocking stuffer for the Season, this is it!
You know the new Albert Dorne, Master Illustrator book is going to be good because of a number of reasons. Number one, if you are a Jack Davis fan, did you ever wonder who Jack is a fan of? It’s something he always played very close to the vest, but now we know, It’s Al Dorne!
The second reason, is that the book comes to us by the same team that brought us that excellent book, Robert Fawcett, the Illustrator’s Illustrator, Messieurs Manuel Auad and David Apatoff!
The third reason the book is terrific, is because, it is about Al Dorne, illustrator extraordinaire, who was also the founder of the Famous Artist School! The ups and downs of his incredible life, a very huge selection of his work, it’s all here!
It’s said, that if you want to grab anybody’s attention,
you’ve got to start off with a potent bang. What better way
than with the master big bangster, prankster himself,
the one and only Jack B. Davis!
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This 1955 Jack Davis comic book cover is not from the Al Dorne book, but
I included it here to illustrate the fact that Al and Jack were marching to the
same drummer. Also, both men were absolutely fearless in taking on crowd scenes!
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Bill writes: Sorry, I couldn’t help myself. I had to throw in
another Jack Davis comparison to illustrate how both
Mr Dorne and Mr. Davis could handle and control drawing
crowd chaos like nobody’s business!
- In 1976 at Perpetual Motion Pictures, Len Glasser designed a series of spots for CBS and their weather service. Models and animation was done (Ed Smith did the original animation.) These short spots were obviously funny, but they were killed, just the same. Never completed and never aired. Two segments of these have remained. One, the “Snowman” spot was picked up by Vince Cafarelli a couple of years back and, reworked with Rick Broas assisting him. They extended the piece a bit and made a short short film. The film was colored on cels and a quick soundtrack was put together. There was also another film which didn’t make it quite as far; it dealt with rain. I’ve finished up the art that exists for that one as best I could and have run it through the AfterEffects mill.
This week features that second spot, the one I’ve been calling “Rainman” – really it’s just a short gag that was never completed. Most of it is on cel, though I had to force a Bg out of a layout that I discovered, and I colored it. I’m sure this is not how Mr. Glasser would have seen the color, but I just wanted to highlight the limited bit of animation that is there. The same is true of the rain which he probably would have left black line with black, inked drops. I put some white into the rain to give a bit less of a focus on it.
Two of the animation cels weren’t painted, so I took the drawings that were there, they look like Ed Smith’s drawings, done in ink on animation bond. I painted them for the final QT I produced. As I say this is just an animation fragment with barely a beginning and no end. It’s all middle. However, I thought it interesting.
Even more interesting and very much more complete, is the “Snowman” spot which I will feature next week.
Here are the “Rainman” cels & drawings:
Early model sheet by Len Glasser
Background sketch
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The following QT movie was made reworking the art a bit,
coloring some of the artwork that wasn’t completed and
exposing it as I saw fit. There was nothing to go by.
This is just a fragment of a scene.
The rain colors and the BG colors are my choices.
I can’t say Len Glasser would approve. My only
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- We gave a little tease of this last week. Straight from the hot scanner of Bill Peckmann comes “Humbug” for Christmas joy. Here’s Bill:
Next in our Holiday helpings is a 1958 HUMBUG magazine’s ‘Christmas Issue’ by Harvey Kurtzman and his coconspirators. Fortunately for us, they are knee deep in shoveling out their unique form of tom foolery for everyone to enjoy in 2012!
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The cover was done by Jack Davis.
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This page was done by Bill Elder.
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These two pages are obviously by the inimitable Bob Blechman.
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A piece by Al Jaffee, who went on to become
one of Mad magazine’s favorites.
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This three page spread does not have
a Christmas theme but it does have
Harvey’s ever lovin’ lay outs with
Jack Davis at his brush and pen best!
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A tour de force two color centerfold spread by Al Jaffe.
A double page spread by Arnold Roth.
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‘A Christmas Carol’, art by Arnold Roth.
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While in a holiday mode, we will segue from a 1958 Humbug ‘Christmas Carol’ party
to a birthday party. It’s Harvey Kurtzman’s 58th birthday which was celebrated at
Harvey’s house in Mt. Vernon, NY, with family and friends in 1982. (Sorry about
the quality of the snapshots, they were taken with an old Kodak Instamatic camera.)
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Appearing in the photo L. to R. are Al Jaffee, Harvey Kurtzman, Bill Elder (kneeling),
Harry Chester (Harvey’s long time production manager and longer time friend),
Arnold Roth and a partially hidden and mischievous Jack Davis.
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The HUMBUG crew with their wives.
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Mr. and Mrs. Will Eisner and Harvey.
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Dena and Jack Davis.
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Harvey and his wife Adelle with daughters, Elizabeth, Nellie and Meredith.
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Many thanks to Bill Peckmann for sharing this material with us.
- When I was younger, animation books were hard to come by. There were books like The Art of Walt Disney by Robert Field or The Art of Animation by Bob Thomas, a couple of books by John Halas, or the Preston Blair Animation book. Some of these were readily available and not too expensive (I bought the Preston Blair book for $1.99 – list price) others were considered rare books and were not only expensive but hard to find.
One book that was advertised in the back of magazines that were about film and/or animation was the Robert Heath/Tony Creazzo book Animation in Twelve Hard Lessons. For some reason, over many years, I never bought a copy for myself. As a matter of fact, I never actually even saw a copy at arm’s length. It was always not there.
Now, I’m spending some time at Buzzco, Candy Kugel’s studio. Lo and Behold, there was a copy of the book, and I finally got a chance to go through it. In fact, I’ve decided to post it on line and have found it to be pretty good. It starts out on the most basic level but gets more and more professional. Today’s post is about exposure sheets and planning for the camera. There’s a lot of information there. Much of it isn’t used in quite the same way it once was, but believe me knowledge of this goes a long and far way toward helping to make the film making process more solid and professional.
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This is a combination of pages 43 & 44 right up.
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I was not quite sure whether to continue today’s post or to stop here cutting off the next lesson until next time. The material upcoming is so dense in its technology (however dated, given that most of us are using computers these days) that I was confident most readers would just zip past that material. However I decided to include it today. I didn’t see the need to stretch the book out, and I thought the dedicated will stay with it.
There’s a ripe history there among the Oxberries and the optical printers. I’m sure back in the day of the classical animator, most of them probably didn’t know what the equipment actually was or what it did. The animator was involved with the line and the movement, the background person focused on the color planes they created. Who cared what they shot it on or how they did a dissolve. Of course, then there were the people like me who not only wanted to know how these machines worked but wanted to do it themselves. In fact, that was the case. For the first few years I shot my own animation on an animation stand I built out of an old WWII device used for creating ID cards. The only part that came from the Oxberry factory was the platen; I was too concerned about it being the proper kind of glass and the weight of the springs being just right. I eventually moved up to a rented Oxberry stand and would should overnight, and finally, I considered myself something of a success when I was able to hire a camera crew to actually film the material for me.
For the geeks out there who were like me, here’s the next chapter.
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