Michael Sporn Animation – Splog

- I’d asked Tissa’s niece, Arlene Nelson, that she include me in any service they’d be having after Tissa died. She called to say that Tissa preferred only family at the religious services they’d be having. (Tissa was a devout Catholic, going to Mass daily – at least since I first met her back in 1972.) Arlene suggested a small memorial gathering at a restaurant, one that Tissa had liked. She recommended this Indian restaurant on the upper East Side. I immediately talked her out of that to find a more intimate approach. The difficulty of gathering a couple of tables for 20 people was troublesome, and we’d probably disturb the clientele on a weekend evening.

I called Candy Kugel to see what ideas she had. She suggested we have it at Buzzco, her studio. She had a couple of long tables which she’d place together, and we could sit, eat snacks (cheese, fruit, veggies) and have a glass of wine while chatting over memories of Tissa.

All very impromptu with less than 24 hours to organize.

There were about 8 family and friends that would come, and I said I’d match that number with animation people that had known Tissa for years. John Canemaker and Joe were going to be out of town; Emily Hubley would also be out of town.

However, John and I briefly discussed an official memorial we’d like to organize for the animation community. John and I will arrange this memorial within the next 4 to 6 weeks. We’ve already started to search for a place where we can screen films and talk on mike.

In the end, there were these people who came to the gathering:
Bob Blechman, Richard O’Connor, Candy Kugel, Dick Rauh, Howard Beckerman, Tony Eastman, Jimmy Picker, John Dilworth and Lisa Crafts. Of course, Heidi and I were also there.

It was to start at 3pm; I bought four bottles of wine, Candy made Lemonade – which was, really, the drink of choice. John Dil brought a bottle of Hungarian wine in honor of Tissa. I bought five different types of cheese and four different kinds of crackers. Everybody had arrived by a few minutes after three. Punctual.

Let’s look at some pictures:

Gathering

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(LtoR) Howard Beckerman, Ruth Mane,
John Dilworth behind Ray (Tissa’s cousin)

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Susan Davis, with Dick Rauh
Arlene, Tissa’s niece from Virginia,
talking with Marilyn, Tissa’s cousin from Mass.

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(LtoR) Richard O’Connor, Beth (an ex-nun who gave Tissa
religious services daily throughout this entire period), Heidi,
Sheryl (Tissa’s nurse), Bob Blechman (seated) Candy (in the rear),
Tony Eastman (far right front).

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Lisa Crafts and Candy Kugel

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Sheryl talking with Heidi in the foreground,
Bob Blechman between them in the rear.

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Marilyn and Ray David (left foeground),
Susan Davis (in white) talking with Arlene.
Ruth Mane is in the middle, between them.

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Candy is setting food & snacks on the table.
(LtoR in rear) Ruth Mane, Dick Rauh, Arlene

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(LtoR) Ruth Mane, Sheryl, and Andras talk.
Dick Rauh, Candy Kugel and Arlene.

At this point, I decided it was time to get the show on the road. I suggested that
we all sit down and take turns talking about Tissa, telling stories we remembered.

Telling Stories

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(LtoR)Tony Eastman, Howard Beckerman, Bob Blechman
Howard Beckerman started things off saying that he was at the very place
where Tissa got her NY start – UPA. The department manager asked
Grim Natwick to interview Tissa, who could barely speak English.
Grim brought her into the large vestibule and asked Tissa what she
thought animation was. Tissa responded, “Animation is . . . animation.”

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(LtoR) Marilyn David, Dick Rauh, Arlene Nelson, Andras (in rear)
Richard O’Connor, Susan David (in rear), Ruth Mane, Beth.

Howard’s story is oft told, though he had more details than usual.
Tissa gave me her side of the story. She didn’t really understand
what Grim was asking her, and this was her way of trying to clarify.

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(LtoR) Susan Davis (in rear), Ruth Mane, Beth, Sheryl, Lisa Crafts.

Grim hired her because of that answer, and
the two became close for the rest of their lives.

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(LtoR rear of table) Candy Kugel, Heidi Stallings (hidden) me, Bob Blechman,
Tony Eastman, Howard Beckerman. (Front of table) Beth, Ruth Mane

Bob Blechman picked up the story telling. He talked about some credit that
was being drawn for one of his projects. (I think it was Simple Gifts.)
The designers were credited as “Artists” and Tissa wanted to know why she wasn’t
credited as an “Artist” as well. (Only the “Artists” received credit in the publication.)
Bob said he made sure that Tissa got the credit as “Animation Artist” because,
“she was a true “artist”.

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(LtoR – rear of table) me, Bob Blechman, Tony Eastman,
Howard Beckerman, John Dilworth
(Front of table) Beth, Ruth Mane, Dck Rauh, Richard O’Connor up close on RIght

I then told the story of my first meeting Tissa at the Hubley studio.
In the I&Pt room, there were only two people working on a commercial,
Helen Komar (an Asst. Animator working, then, as a prod. coordinator) and me.
While working furiously on my artwork, I heard a Hungarian voice in the room:
“Who has done these HORRIBLE inbetweens?”

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(LtoR – rear of table) Candy Kugel, me, Bob Blechman
(Front of table) Lisa Crafts, Beth

I was the obvious culprit and nervously raised my hand. They had their
smile and then Tissa took me under her wing to teach me about animation.

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(LtoR) John Dilworth, Howard Beckerman (partial view of back),
Dick Rauh, Susan Davis, Arlene Nelson

I’d go to Tissa’s apartment about once or twice a week and she’d
give me Grim Natwick drawings to either clean up or inbetween.
Then she’d tear me apart for the work I’d done.
Eventually, I learned a thing or two about animation.

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Candy told of meeting Tissa and, having talked with her over the phone,
thought Tissa was much younger. Candy was ultimately surprised to find
someone as old as her mother. She took similar lessons from Tissa, but
Candy felt that her skin wasn’t quite as thick as mine. Taking the hard
words from Tissa wasn’t always easy.

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Candy also talked about a memorable dinner; Tissa cooked a Hungarian
dinner for John Canemaker, Candy Kugel, me and some of our companions.
Candy, at the time, was a vegetarian. Tissa didn’t know. Candy felt she
could eat around the meat. Unfortunately, the meal was goulash, and
Candy had more than a little difficulty eating it.

Candy eventually became a carnivore, and Tissa became a vegetarian.

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From here the story-telling became more of a conversation with a lot of
back and forth about ASIFA and animation and Tissa’s work. It was
mostly light and funny and fun.

The gathering eventually had to break up since some of us had trains to catch or places to get to. However, it was an enjoyable couple of hours remembering someone who was so dear to all of us present. We’d have to look forward to the official memorial we’ll set up in the next month or so.

Here’s some background on those people in the snaps:
- Bob Blechman, the producer director of films especially featuring his own squiggly lined character. A famous designer and cartoonist who hired Tissa for years out of his studio, The Ink Tank.
- Richard O’Connor, a producer director out of his own studio, Ace and Son. He first met Tissa when he worked at Blechman’s studio. Eventually, he worked with her on many a spot from his own studio.
- Dick Rauh, the first President of ASIFA-EAST with Tissa as his Treasurer. They ran the chapter for many ears. He also was the head of the Optical House, a prestigious producer of film opticals. He retired to draw stunning botanical illustrations.
-Howard Beckerman, was a mainstay in animation. He worked at UPA when Tissa was first hired there. He was a designer/animator/director at Paramount. Eventually, he had his own studio for many years in NY. He was one of the leading instructors at the School of Visual Arts. In fact, he still teaches there. Oh yes, he’s also written several books.
- Candy Kugel has been in animation since the early 70s, first at Perpetual Motion Studios, then Buzzco Productions, which ultimately left the hands of Buzz Potamkin and became a joint venture between she, Marilyn Kraemer and Vince Cafarelli, as partners, Buzzco Associates. She’s responsible for MTV’s first ID, the spaceman with the flag.
- Tony Eastman, an animator and designer. The son of UPA writer and author, P.D.Eastman. Tony now continues the book series his father started. He worked for years at the Ink Tank before going into business for himself.
- John Dilworth, director and animator and proprietor of the studio, Stretch Films, from which he produced “Courage, the Cowardly Dog”. His character and the show’s pilot, was nominated for an Oscar.
- Jimmy Picker, the Oscar winning clay animator who has been something of a quiet center for a lot of animation in this City.
- Lisa Crafts, a brilliant Independent animator. She has been making her own films for decades now and has worked at numerous studios about town, including my own.

Tissa’s friends and family:

- Arlene Nelson, Tissa’s niece, the daughter of Tissa’s sister. She came up from Virginia to settle and arrange all the affairs.
- Susan Davis, the friend of Tissa who diligently helped her every day dring this long and tiring period. Susan also notified a large number of people to keep them abreast of any changes in Tissa’s condition. We spoke often, about once or twice a week.
- Sheryl, the nurse who moved in with Tissa after the most recent hospital stay. At first, Tissa objected to having a nursing aide. Within a few days she told me privately that she enjoyed Sheryl’s companionship (not to mention her assistance). They watched the Olympics together.
- Ruth Mane, a dear friend of Tissa’s for many years. Ruth was a remarkable inker and checker during the years of the big studios. She was well known for her brilliant, meticulous lettering.
- Andras, Tissa’s great, grand nephew. He came from Hungary to visit his aunt, arriving on Tuesday, the day Tissa died. He took many photos of the event.
- Beth, an ex-nun who came to Tissa daily over the past four years to help her perform her daily religious service. She administered the Eucharist on more than one occasion while I was present.
- Ray and Marilyn David, Tissa’s cousins from Massachusetts.

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Photo of Tissa, above, by Mate Hidvegi taken this past March.

The Los Angeles TImes printed an Obituary for Tissa David, which you might appreciate seeing. (The Chicago Tribune printed this same obituary from the LA Times.)

- Here’s what looks like a simple move done by Tissa David when she animated this Viva, paper towel commercial. It was produced, directed and designed by John Hubley. A very simple and beautiful character.

The character’s move in this scene is a complicated one done simply. She has been bent over, cleaning with her paper towel, and she moves up. You can follow the overlapping action as her eyes pull her up, head turn, and body follows.

The stripes will come and go. Tissa depends on someone else to concentrate on this material when she’s working on a commercial.

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(Click any image to enlarge.)

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Her eyes point in the direction she wants to go,
and the rest of the scene moves her up and into profile.

This key move is hidden under the exchange of the
paper towel from one hand to the other.

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She stops to think (accenting her monologue.)

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And she slyly looks back to camera to respond with her thought.

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She continues, all through this move, talking.
She’s pitching the product.

Here’s a QT of the piece:

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

- The 1975 issue of Millimeter Magazine is an animation issue. There are a number of enormously informative articles. I was rereading a copy of the magazine, this past weekend, when I came across the Close Up section, wherein a couple of bios appear.

I’d like to show one for Tissa David that was included. I assumed John Canemaker authored the piece; there is no byline. When I asked him, he responded thus: “I wrote the article on Tissa. The quotes are from my first formal interview with her. It was for Millimeter when I was the animation editor and put together special animation issues.”

Tissa looks so young in that photo.

“I am a frustrated comedienne, for sure,” Tissa David will tell you, only if you ask. “I am a clown. If I weren’t shy, I’d probably be on the stage.” Instead she is an animator, one of the world’s best and busiest, and one of the few women to have reached the top in the traditionally male-dominated animated cartoon field.

She joyfully toils in her East-Side New York apartment, a warm, plant-filled place that often smells of baked apples. Classical music swirls quietly from a radio and the glow cast from the light under her animation board gives her the look of a sorceress.

The lady has class—a fact one gathers upon first meeting, but a fact that is reaffirmed by catching a look at the creatures she is conjuring to life on her drawing board. The graphic line is strong and free, yet elegant (as is the artist); and when the drawings are flipped, the creatures move through their paces with a deliciously droll humor, a wit that is uniquely Tissa David’s.

As a child in her native Hungary, Tissa saw Disney’s SNOW WHITE and thought (as so many others have thought after experiencing that film masterpiece), “Now this is something I want to do.” After graduating from art school, she became an assistant animator at Magyar Film Iroda in Budapest; a little more than a year later, in 1945, she was a co-owner of the Studio Mackassy and Trsi supervising all phases of production including story and camera and was sole animator of the puppet and cartoon films.

She left Hungary in 1950 during the height of the Stalin regime, and finally landed in Paris.

Jean Image Productions hired her in September 1951 and for two years she read sound tracks, planned layouts, animated, and did the entire editing of the feature-length, BONJOUR PARIS (1953). That studio closed and Tissa animated at La Comete next, a studio that had been Paul Grimault’s.

“I had absolutely no relatives outside of Hungary except in the United States. So I asked for a visa in 1950. It took at that time five years to get a visa, that was still the quota system. So I came to New York…I loved the U.P.A. cartoons. I decided I wanted to work in that studio.” In 1956, the United Productions of America’s New York Studio was the last tenant in a brownstone on Fifth Avenue and 53rd Street slated to be torn down for the construction of the 666 Tishman Building. There was a French girl in the UPA studio and so she introduced me,” Tissa recalls. “I had no sample reel. I went in once to make a sort of tryout. I was scared; I didn’t speak English, so I was just waiting, waiting, and Grim came by…Grim Natwick is the history of animation and I can rave about him. He created Betty Boop and animated the character of Snow White all the way through. UPA had an awful lot of work and they needed an assistant to Grim.”

At that initial meeting, Natwick boomed, “Now, you know what animation is!” Tissa quietly answered, “Animation is—animation.” Natwick laughed, “You can’t argue with that!” and thus began a professional partnership that lasted twelve years. “Isn’t it strange,” says Tissa today, “that SNOW WHITE got me into animation and I really learned my animation from Grim. I know a great deal about animation, I know I know, because even today I don’t do one line without something in my brain Grim told me.”

After UPA closed in 1958, Tissa and Grim freelanced as a team on countless TV commercials, and since Grim’s retirement, Tissa has soloed successfully and most notably on several John Hubley projects, i.s.: Of Demons and Men (1970), Eggs (1970), Children’s Television Workshop segments Cool Pool Fool, True Blue Sue, Truth Ruth and others, and Cockaboody (1973). Her latest animations include three CTW Letterman episodes, a scene in Shamus Culhane’s Noah’s Ark production, and over 110 feet of Hubley’s Bicentennial film, People, People, People. She has just completed some experimental animation fora Dick Williams project and is now starting, also for Hubley, a TV special based on Erik Erikson’s writings.

A description of Tissa David’s style of animation is difficult; for while it is a distillation of the Disney influence in timing, the UPA sense of humor-through-graphic-design, and the strong, poetic John Hubley mode, it also contains a different character, unique to Tissa David, that she calls the “female difference…If the same scene is animated by a man and by me, there will be a great difference, not in quality but in interpretation. John Hubley told me I have a fine sense for detail, not in the drawing itself because I make very loose drawings, but in a scene, in expressing feelings. I am a very intuitive animator—I never know when I sit down to work what will happen.”

For all her gentleness, Tissa also contains an inner core of strength exhibited in her single-minded devotion to her art. Her opinions about that art, herself and other topics, is disarmingly to-the-point: “I believe very strongly that one must know how to draw,” she will offer on the subject of how-to-animate. “Even if you just animate objects, you must have a knowledge of drawing.” As for her struggles securing her place in animation, Tissa will admit, “…its very hard. Women can find work in animation if they have enough will to follow through and really do it. Even today, I’m always saying if I keep busy long enough, I will become a good animator.”

At the time this piece was written, Tissa was completing work on a pilot for Dick Williams’ film, Raggedy Ann & Andy; this one minute piece got Dick the film over Joe Oriolo and Shamus Culhane. She would thereafter work on John Hubley’s Doonsebury Special (just as he died mid film); and she was to animate for R.O.Blechman’s Simple Gifts.

Here’s a more recent photo of Tissa.

Tissa David was 91 last January.

– Since first seeing the Hubley short, Of Men & Demons, back in 1967, I’ve been a fan. The artwork was stunningly different and original. It had a rich tone to it and some beautiful Hubley Bgs. The music by Quincy Jones was as original as the film, itself.

The short was actually an industrial film done for IBM to explain the binary code to its employees. The Hubleys, however, built on that story to make something of a personal film that received an Oscar nomination.
(Click any image on the page to enlarge.)

Art Babbitt was one of the first animators hired. At some point, Tissa David was brought on to rework some of Babbitt’s beautiful animation. Unfortunately, it was on about fourteen levels and had to be combined and reconstructed and shortened. (Today, of course, there are no limits to levels, but in the days of the camera you kept things to 4 cel levels, as a rule, and never more than 5.) It was complicated by the fact that John Hubley had decided to shorten the piece, and Quincy Jones’ score was shorter than Babbitt’s animation. This chore took some effort and involved dissolve animation. Tissa then continued on the sequence animating the little protagonist and his female companion through the remainder of the film.

About 25 years ago, Tissa David gave me an envelope full of art from this film, and going through a lot of my old material recently, I came upon that envelope.

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These are storyboard drawings for a short sequence. Tissa got these drawings and prepared Layouts for the sequence. You can see how much is actually in John’s drawings so it’s easy to build on what he’s given you.

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The following are key drawings Tissa prepared for the sequence in laying it out.

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Here is a short piece that Tissa did of the little woman character seeding her front yard. There’s so much grace in every one of these drawings and enormous information in the walk, itself.

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(Click any image to enlarge to full animation sheet.)
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And here are the matching frame grabs from the film.

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Seeding crops PT & Final Color

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- When I first started in animation at the Hubley Studio, I met Tissa David. She recognized how poor my inbetweens were and took me under her wing to try to correct the situation. She gave me private lessons for years. Often she would give me scenes animated by her mentor, Grim Natwick, and she would ask me to remove every other drawing and do new inbetweens for what was left. When I finally got them close to being correct, she’d have me do clean-ups of Grim’s work.

These two run cycles were among the first drawings she gave me to rework. Back then, the only way to see the drawings in motion was to flip them or film them. There were no computers to see them instantaneously moving. You can just go to the bottom of each cycle, and I’ve added a QT pencil test,

I might suggest that if you’re just starting out, you should print out the drawings and then do new versions of the inbetweens for the even numbered drawings. Go back to Tissa’s versions to compare with what you did.

Grim Natwick animated this spot for Mountain Dew when he worked for Robert Lawrence Productions. Here are two run cycles from that spot. It was assisted by Tissa David. All of the drawings, here, are Tissa’s clean-ups.

This is another run cycle from that same film. Again, all of the drawings, here, are Tissa’s clean-ups.

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You’ll note that the character leaves the ground for 1/3 of the spot.
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I love the chicken movement this guy is doing with his arms.
A laugh riot of a run cycle.

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He actually comes down in the crossing position rather than the
classically designed walk where the head moves up.

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Tissa’s tendency is to have the crossing position the lowest in the cycle.
The character bears the weight of his walk with feet solidly on ground.

Run Cycle
On ones at 24FPS
Click left side of black bar to play.
Right side to watch single frame.

This was originally posted in May 2009.

Having revisited a number of Hubley films recently, I’ve grown more attached to some of the Tissa David works, and having spent a few hours with Tissa recently, I thought I should look again at her work on The Midsummer Night’s Dream, a film which has rarely been seen but is worth looking at.

- I’ve posted a number of pieces about Tissa David‘s work on The Midsummer Night’s Dream. (see them here.) This was a film she directed and animated with three other people: Kalman Kozelka photographed, xeroxed the cels and coordinated it, Ida Kozelka-Mocsary color styled it and did most of the painting, and Richard Fehsl did the Bg designs and animated many of those Bgs.

The film aired on the BBC in 1983 and was released on VHS by Goodtimes Video

I’d previously posted a couple of the cels from a scene, and here I’m posting all the drawings. I do think the film looks better in pencil test, but then I’m partial to Tissa’s beautiful drawing style. Here, again, are those cels:

And Here are those drawings:

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Titania Dances with Bottom

I took a guess at the timing of this putting the
action on three’s and adding two short holds.
All drawings from this scene (both posts) are included in the QT.

[ Javascript required to view QuickTime movie, please turn it on and refresh this page ]

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

Leading up to the Hubley show next Monday at AMPAS in NY, I’ve said I’ll be posting a lot of Hubley artwork. Today and Wednesday I have a couple of pieces from EGGS.

- I have a lot of artwork from the Hubley short, EGGS, which was wholly animated by Tissa David.

One of the two characters starring in the short is a skeleton, symbolic of death and destruction. The other is a nymph, who represents fertility. The show is basically about the complications overpopulation has presented to the world.

I thought it appropriate for today to post some of the drawings and models for the death character. The images displayed are cropped from the full animation sheets; when you click these displayed it’ll enlarge to the full page. Here they are.

The first model of the character came close to the final.
This is a drawing by John Hubley.

He soon solidified in this model by Hubley.

Tissa David finally worked out some of the problems for herself
and created this working model sheet.

Here’s a beautiful working drawing by Tissa as
she started to pose out the scenes.

Tissa’s roughs are deceptively simple but convey so much. These drawings
are for her eyes only, usually, she’ll clean it up somewhat for animation.

Unfortunately the dvd is a bit soft partially because of the nature of the
underlit final artwork. Perhaps someday there’ll be a better digital transfer.

Fertility is oozing sexuality in every drawing. This is part of the
same scene as she converses with death about the human race.

Eggs was a short film which was rushed out at a low budget for a PBS show called The Great American Dream Machine, which was produced by designer, Elinor Bunin.

The film follows the political thoughts of John and Faith; they were concerned about overpopulation (there are at least four shorts they made about the subject) and were able to blatantly make a political short for this TV series.

These three drawings are character Layouts by John Hubley.

Here’s a YouTube interview with John & Faith Hubley done in 1973. They discuss Eggs and Voyage to Next.
The video of EGGS starts at 4:50.

This is one of my favorite sequences in the Hubley canon. Animated by Tissa David.
It’s worth a repost: the original appeared here in June, 2009.

- Let’s take a look at the scene in Hubley’s Everybody Rides the Carouselwherein the young lovers have had a spat and try to have a romantic scene despite the fact that neither of them wants to do that.

They’ve argued over the girl having cut her hair without telling the boy. He’s annoyed and she laughs at him. They push on to a frothy conversation. Both put on masks to continue the conversation while the inner characters
are annoyed and have an inner monologue. They get to the point where they can’t take the masks off and end pulling away from each other.

I’ve gathered John Hubley‘s layouts for this sequence. Tissa David animated them. You’ll note that the pencil numbers are a scene breakdown done in Tissa’s handwriting. The very loose drawings were done with a sharpie or pencil. The pencils would have been done while in handing it to Tissa during the conversation. They’re to delineate some point in greater detail for her.

I’ve also pulled some frame grabs so you can see how it was finally rendered. The coloring was done on vellum and shot bottom light. No more than 3 levels were used (including the background.) Tissa, aside from concerning herself with the dramatics of the scene, had to watch that the characters didn’t overlap. More complication for her.

(Click any image to enlarge.)

By the way, this was Meryl Streep’s first screen performance.
Charles Levin, another NY character actor, played the boy.

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Here’s the park bench.
A quick rough copy by me to Tissa of John’s Bg LO.

John’s model of the boy’s head for Tissa.

John Hubley’s models of the Girl’s heads for Tissa.

a rough drawing of the girl by Tissa.

- Here’s the first part of a scene Tissa David animated for the Hubley feature EVERYBODY RIDES THE CAROUSEL. The baby is one year old and mother puts him down in front of the lit birthday cake. She tries to fix his tie, but he’ll have none of it. I have the mother drawings that follow this, but I’m missing the baby. So I’ll let it end at this point.

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The following is a QT of the entire scene with all the drawings included.
Since I didn’t have exposure sheets, I calculated everything on threes
since Tissa did a lot of her Hubley work on threes.
I don’t know if there were any holds, but I doubt it.

- Tissa David animated a VIVA paper towel spot for the John Hubley. I have most of the drawings for the commercial. Here’s a scene wherein the lead, a woman, walks through (Bg pans behind her at .25 per drawing) toward the kitchen, where she stops.

Instead of giving you the entire page of animation paper, I’ve trimmed it down to just include the character and her walk. Here are four examples of what the entire drawing looks like, untrimmed.

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And here are all the drawings for the scene cropped:

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The following is a QT of the entire scene with all the drawings included.
Since I didn’t have exposure sheets, I put everything on two’s straight ahead.