Michael Sporn Animation - Splog

- Back to the book. Here’s the next chapter in Tanya Usvayskaya’s wonderful book. She kept a drawn diary while working for Yuri Norshtein at his studio. This book compiles the drawings of the small family within the studio and Norshtein’s environs during that period.

A copy of this book was a gift from Richard O’connor, whose Asterisk Productions does wonderful animation of their own. What a treasure!

Note that the translation by the Japanese publisher isn’t always the best, but it does capture the gist of the original Russian. I’m transcribing the book without alterations.

The first three parts of the book can be found here:
Norshtein Comics - 1
Norshtein Comics - 2
Norshtein Comics - 3

This chapter, Norshtein and Tanya, is one of the shortest.

4-1
“Norstein and Tanya”
.
4-2
“Don’t Hesitate to use them.”
Norshtein, leaving to give lectures, gave us a
certain amount of money for the management of the studio.
.
4-3
“Pirat, please buy one covered with chocolate.”
While someone is “living luxuriously” on overseas master classes,
Tanya and Pirat “economized” on every kopeck.
.
4-4
“Now - you calculate quickly!
20 watermelon stones plus 3 bits? and . . .”
Because we bookkeepers failed to report to the master,
he recommended to us that we learn mathematics.
.
4-5
“Have this hat for just a moment.”
Work in the animation film studio provides us all
with a variety of returns.
.
4-6
“Ladies, please buy my flowers.”
As a result of squandering by Tanya and Pirat,
Yuri has become a flower seller on the street.
.
4-7
“Please pay for potatoes, sour cream and sugar!”
Tanya screams in front of a mountain of food to pay.
.
4-8
“Well, we all are ready to go to sleep.”
In the studio, taking of scene for “Good Night, Children!”
went all night. Tanya, Natasha and Pirat left this note.

________________________

Here’s the video of the title scene mentioned in the last cartoon, “Good Night, Children!”. Thanks to Niffiwan for adding it to YouTube.

- Today we continue with this magnificent, yet unpublished, book that was written by Bill Peckmann and illustrated by the late, great Rowland B. Wilson. The book almost reads like a dialogue-less storyboard.

Posted the way it is, the piece moves with all the speed of fast paced cartoon of the forties, and is drawn and composed with as much grace.
This is a treat to post, and I thank Bill Peckmann for the chance to do so. You can see Part 1 here.

I begin this entry with the last image from the last post.

28 29
(Click any image to enlarge.)

30 31

32 33

34 35

36 37

38 39

40 41

42 43

44 45

46 47

48 49

50 51

52 53

54 55

56 57

58 59

60 61

62 63

64 65

66

One more part to come, next week.

- It’s Friday, so it’s time to read the next chapter in the delightful book by Tanya Usvayskaya. She recorded her stay at Yuri Norshtein’s studio by caricaturing her boss and his life during that period. The simple drawings say a lot.

This book was gifted me by Richard O’connor, whose Asterisk Productions does some charming animation of their own. I am enormously grateful for that surprise package of a book.

Note that the translation, sometimes poorly worded, is copied verbatim. I’m just trying to transcribe the book without any alterations.

The first two parts of the book can be found here:
Norshtein Comics - 1
Norshtein Comics - 2

This chapter concerns itself with biographical notes of the master’s life.

1
(Click any image to enlarge.)

2
“Childhood”
Red haired with freckles and in stockings - boy grew up cheerful.
Made mama Bassya and papa Boris happy and almost he never
quarrelled with his brother - violinist Garik.

3
“Adolescence”
As a lad, he was soon captured by one passion - just painting!
Drew, torn to pieces and thrown out.

4
“Encounter with Francheska”
In the children’s art school.
youth Yuri N. made friends with youth Edik N.
And in junior class a girl with thick braids
named Francheska was learning . . .

5
Failure!
It turned out that no institutes accept Norshtein.
Perhaps, destinyspared him for animation films.

6
“Lads! This guy is great!
He made boxes for the whole country!”
“Oh, yes.”

Young artist didn’t waste his talent!
in the furniture complex
he knocked out boxes required everywhere
by hammering nails in with one stroke!

7
“Enthusiasm”
And all the remaining time
he was drawing pictures
until he happened to meet with . . .

8
“Encounter”
Norshtein met with a famous director, Roman Kachanov,
who later took (made) animation film “Mitten”,
“Crocodile Gena and Cheburashka” and many others,
where Norshtein was one of the animators.

9
“On the road to becoming an animator.”

(Without believing his own luck . . .)
With the blessing of Kachanov, Norshtein successfully passed
an examination and entered the artists, animator’s class!

10
“Why should I take it off
when I will wear it again tomorrow?”

First work on audio replica of character - “Nezanaika”.
He was too busy with the work to take off the hat at night.

- Bill Peckmann collaborated with Rowland Wilson, back in the early ’80s, on a charming little book for children that never found a publisher and, consequently, never was completed. Bill had a bound copy of the book - in a mockup form - and sent it to me. I, naturally, would like to share it.

So here’s the first part. There are about 90 pages, so it’ll probably take three posts to complete them all.

First, here’s the note on the inner sleeve of the cover:

ABOUT BEDTIME FOR ROBERT, A WORDLESS BOOK
Bedtime for Robert is intended to bring to small children an early experience of the special personal relationship one has to a book; the availability and flexibility that a book enjoys over a fixed-time medium such as television.

Being wordless, the book needs no translation. The child has access to it at any time without relying on adults. This early exposure to the physical reality of books will, we believe, enhance the experience of reading later on.

The story combines the pull of a narrative with information that appeals to a child’s curiosity: in this case what goes on at night in the adult world. Although the child must go to bed (reluctantly), Robert the cat’s curiosity leads him into this forbidden adult world. Robert is all cat with cat qualities, not a little person in a cat suit as most cartoon cats are. The child can project his own emotions into the character.

The authors are booklovers with extensive experience in both print and film. We have both won Emrnys and other awards for our animation designs for educational TV.

We believe this is the first book to utilize the principles of film continuity in a printed form. This continuity is vital to the understanding of a narrative without the aid of words.

The use of film pacing supports the unfolding of adventure and humor in a wordless story.

The book is planned to be in color. The pages up to 17 are in finished linework and the rest is in rough layout form.

Robert is conceived as a series. The character and structure would remain constant. The variables would be in the cat’s adventures in various places, seasons, times of the day, and occupations.

Please contact either of us at the addresses below. This is a simultaneous submission.

Yours truly,
Rowland Wilson
Willi Peckmann

Here, then, are the first 20 or so pages. You’ll see immediately how original this book is:

3
(Click any image to enlarge.)

4 5

6 7

8 9

10 11

12 13

14 15

16 17

18 19

20 21

22 23

24 25

26 27

28

Rowland was so brilliant with color; it would have been wonderful if he’d been able to complete the book. At least we have this much.

Many thanks to Bill Peckmann, again, for sharing this gem.

Happy Thanksgiving

- Here’s a short film I’d like to share, about a minute long. It’s a piece we did back in 1990 for Live Home Video and was part of a two-video project of nonsense poems. One tape contained poems by anonymous authors - Mother Goose and the like. The other tape contained poems by noted writers.

Russell Hoban is one of my favorite writers, so there are four of his poems included in the half-hour show. This was written by him and narrated by a young, non-actor girl who had a great voice. I’d worked with her previously on The Red Shoes.

Jason McDonald brilliantly designed and storyboarded the whole thing. He also did all the backgrounds for the two half hour tapes. This poem was animated by Sue Perrotto, who did some marvelous work for us.

Russell Hoban’s
Jigsaw Puzzle

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

I’ll put up a couple more bits of this show in the upcoming weeks.

________________
.

- Today’s the day that The Princess and the Frog opens in two million theaters. It’s being called 2D animation’s last best chance of survival. Of course, that’s ridiculous; I don’t accept it for a minute. Just as I didn’t accept it when Eisner at Disney or Katzenberg at Dreamworks proclaimed 2D animation dead, several years ago.

But I’m conflicted.

Certainly, I want it to do well - extremely well; I’d like it to make the road easier for the next non-Winnie-the-Pooh feature at Disney. But I don’t think that this is going to be the best of the recent features - cgi, stop-motion OR hand drawn. I’m sure there’ll be a couple of tour de force animation sequences. Yet, there’s not much pulling me to any of those 2 million theaters.** I just don’t have the highest of expectations. Looking at the “Art” in the book, The Art of The Princess and the Frog didn’t warm me toward the film, either. There aren’t many pictures in the book that remotely represent “Art” to me.

Yet, I am looking forward to seeing it. Because it IS 2D animation drawn by some of the most acclaimed animators in the industry. I am anxious for them and want it to supersede my trepidations and be a positive for animation. The truth is that I don’t know what I’m going to see, and I want it to be better than the trailers and books promoting this film.

When I saw all the advance bits and pieces of The Fantastic Mr. Fox, I hated what I saw. I could imagine only negatives. The more I saw, however, the more I was being won over by the voice cast. When I saw the film, I loved it. I mean, I LOVED it. I’m looking forward to seeing it again . . . and again. Wes Anderson pulled together a brilliant film full of charm and wit and intelligence. It not only was one of my favorite animated films of the year, it was one of my favorite films . . . period.

Perhaps, that’s what’s in store for me with The Princess and the Frog. Perhaps the animators will overwhelm me, the directors will have a new vision, the artists will get to me. Perhaps, I’ll see everything I hope for. But I’ll have to wait.

I was set to see a screening on Dec 1st. But I can’t. There’s another more important event that evening. (Anytime live people are involved it wins hands-down over a filmed event.)

There’s the celebration at the Paley center of Mr. Magoo’s Christmas Carol, complete with a panel consisting of Darrell Van Citters, Animator and Author of Mister Magoo’s Christmas Carol: The Making of the First Animated Christmas Special, Judy Levitow, Daughter of Magoo Director Abe Levitow and Marie Matthews, Voice of “Young Scrooge”. I’ll be at the Paley Center.

I’ve arranged to see The Princess and the Frog on Dec. 5th. That’s Walt’s birthday, so it seemed appropriate. It’s two weeks after the opening, but I’ll manage. Or if not, I’ll do like everyone else and pay to see the film. The problem is that I’ve been seeing about five films a week (it’s Academy screening time), and sticking another one in there is difficult. We’ll see. Consequently, if I do give honest comments on this film (not that anyone is waiting) it’ll have to hold until then.

** Jerry Beck in the comment section wrote: that the film opens in “one or two theatres today in NY and LA. It opens in “two million theatres” on December 11th.” My mistake.

Regardless, the film got reviewed today. The race issue presented problems for some:

Manohla Dargis’ NYTimes: Not quite glowing, she says the “. . . finale, like the story itself, represents progress of a kind, I suppose, even if this princess spends an uncommonly long time splashing around as a frog. A frog whose green hue suggests that, if nothing else, Disney finally recognizes that every little girl, no matter her color, represents a new marketing opportunity.”
The NYDaily News: (3 stars)”The good news is that “P&F” quickly cruises past the fact that Tiana is Disney’s first African-American heroine. Unfortunately, the story that surrounds her often finds itself stuck in the swamp.”
The NYPost:(3 stars) A generally positive review but says that the film isn’t up to “Alladin”, “The Little Mermaid” or Pixar.
The Village Voice: A not enthusiastic review: “Much ballyhooed as Disney’s return to its tradition of 2-D “cel” animation after a five-year hiatus, The Princess and the Frog is pleasantly, if unmemorably, drawn. But the movie as a whole never approaches the wit, cleverness, and storytelling brio of the studio’s early-1990s animation renaissance . . .”

_________________ .
- Today’s also the day that The Fantastic Mr. Fox opens wide. Prior to this it played only four theaters in the US: two in NY and two in LA. It did exceptionally well at those four theaters; let’s hope it continues at a couple of thousand.

Go see it. That’s all I can say. This is a great film. Go see it.

_________________ .
- Let’s back up a bit and talk about that book - The Art of The Princess and the Frog. This is only one of about 16 books Disney’s releasing on the film. I’ve read that they’ve been very successful with any merchandise featuring Princess Tiana. Everything from the Little Golden Book to a cookbook. The one that intrigues me most is the Learn to Draw The Princess and the Frog. (In the past, they would have called it “How to draw . . .”)

But back to the one Chronicle sent me hoping for a review. I’ve been a fan of Chronicle’s animation books. Amid Amidi’s exceptionally well designed book, Cartoon Modern, was the first book of theirs that grabbed my attention. It did what other Art/Animation books should have imitated. Amid’s follow-up, The Art of Pixar Short Films was equally attractive, though I didn’t have much interest in the subject.

The book, The Art of the Princess and the Frog is also well designed, graphically, but the material is, for me, less than thrilling. I’m not sure I am in tune with writer, Jeff Kurtti’s approach to structuring the book.

The book, itself, seems less about animation than about how to display the artwork offered. It breaks chapters into characters or settings and gives lots of models, storyboards and Bg examples. It makes for a very different format in the book and makes for a new way of organizing the material.

There are plenty of storyboard selections to view.
This sequence by Jeremy Spears..
There are a lot of quotes from many of the principal artists and animators involved, and the book plays out from those quotes. There are a lot of characters analyzed in the book, so I’m curious to see how they play in the film and how much screen time any of them get.

The end result, for me, is that there doesn’t seem to be a strong focus in the book. I’m not sure what I should be looking for. Is it just a big scrapbook of artwork promoting the film? Or is there a larger focus that I missed? But then I get the feeling that the film is a mish-mash of styles, itself. The book doesn’t help in this regard, but, of course, it’s a gathering of a lot of preliminary art, so it’s hard to tell.

Given the large number of art books on the subject of various animated films, I suppose there have to be other models for the “Artwork of . . .” series, but I’m not sure this is it.

There are some interesting bits about the film that were stated. For example, the chapter on Background design illustrates how the artists looked closely at Lady and the Tramp for “inspiration”. Here’s a breakdown in two illustrations that the book uses to discuss this inspiration.

“. . . We looked at Lady and the Tramp not so much for the “application
of paint,” but definitely the caricature of shapes, and the compositional
elements. Large foreground elements utilizing the screen shape, and then
space of depth, and pattern, and a nice balance and rhythm of light shapes.”
.

I wonder what Disney film the Art Directors of Lady and the Tramp
studied when they were preparing to design their film?
.

The Lady and the Tramp Bg as it appears in
Bob Thomas’ The Art of Animation.
.

Bg for The Princess and the Frog by James Aaron Finch..
Should this be an inspiration for me or for future animation artists? The Thomas book was a model for me; for years I studied, memorized and pored over every picture of that book. I wonder how I would react to this if I were young and looking for something to keep me enthralled with the medium.

We need to redefine the art of “The Art of . . .” books. They have to be more than a promotional device> Throw enough pretty pictures at the audience and you’ll make enough sales to cover cost and bring people to the theaters. Some creativity might be required.

Like all scrapbooks, there are some illustrations that were interesting to me.
Here are a few of them.
.

Two illustrations by James Aaron Finch. .”
.

Something lost. Something gained?.”
.

Bill Schwab on the left | Rik Maki on the right
.

Eric Goldberg on the left | Bill Schwab on the right
.

Bg by Doug Reggers. There are a lot of steamships in the book.

- A week or so ago, there was a gentle knock on my door. It was a messenger coming from Richard O’Connor, one of the proprietors of Asterisk Animation. He had sent me a gift of a little treasure book; one printed in Japan which contained dozens of cartoon caricatures of Yurij Norshtein and his staff. The cartons are done by Tanya Usvayskaya. Let me post her own introduction. I’ll follow that with two of the chapters from the book. The text is a bit hard to follow, so I’ll retype it below each cartoon to make it more legible.

Honourable friends!

Hello!

My name is Tanya Usvayskaya. I’m working and studying at the Studio of Yuri Borisovich Norshtein - one of the most eminent animation directors. In this book you can see my small sketches ‘from nature’ depicting our studio life and different reactions to our events.
You can meet all members of our small team, as same as our friends, guests and close relatives.

All these small memos have been drawn with the intention to brighten and cheer up each of us, but in the book they’ll help you to imagine that ‘concentrated solution’ where the cristals of our collective creative work are growing up.

Wishing a lot of joy to you I recall the words of little Yanochka to her grandfather Yuri Borisovich: ‘Grandad, I want so much everyone to be delighted’

Sincerely Yours, Tanya Usvayskaya

cov1
“Gather around, all of you!”
Members of the studio prepare for
photography. Photgrapher id Jukovski.

.

.

.

Norshtein is working and rinsing a bad tooth.
Zoia Trofimova, his student, is preparing her specialty, chicken broth. Zoia Trofimova is director of “PIPSQUEAK PRINCE.”

3
“What is so funny?”
It happened on her first day in the studio for Natasha Baskakova.
It was very hot and Norshtein came to the studio with his shirt
tucked into his knee trousers.

4
We have pressed the director’s shirt,
and slipped this paper into his pocket.
“The customer is King!”

5a5b
5a - His words while talking with Petrushevskaya, a writer on the phone.
In Russian “snimati” stands for either “shooting film” or “taking off clothes.”
Petrushevskaya wrote the scenario of “The Tale of
Tales” and “The Overcoat” together with Norshtein.

5b - “Every time I put it on or take off.
I do not know what I am taking off.”

6
Director’s weekdays.
Early in the afternoon. He is meditating. It is a director’s job.

7
A giant and a banana.
Norstein, a person with a large body frame,
is eating a small banana.

8 9
8 - “Er, uhm, you know . . .”
Norstein said to us apologetically, scratching his head.
It is a signal he sends when he wants to have a cup of tea.

9 - “Like a sucking pig.”
Norshtein is talking on the telepone and scratching his nose.
Then he put his fingers into his nostrils.

10
“Let’s dance, learn to tap, with your hands
and legs, and One, Two, Three.”
Sending fax to NATASHA GUTMAN in Spain.
“You are a true native of Barcelona!”

11
“I love Russian Sugar!”
The director shot a CM for “Russian Sugar”.
He himself drinks crunching cube sugar.

12
“Today is May 9th, Victory Day.”
During the World War II 27 million Soviet people were killed.
“A old soldier goes to the War” is a film about a fighter pilot in the war.
The pilot annihilated Fascism, and thanks to the Peace;
we will annihilate Blinui baked by Katya Sokolova, a student of Noshtein.

Blinui is made from milk, eggs and flour and baked with oil.
The traditional dish which sandwiches cavier, etc.

13
“Say cheese!”
Meeting with a director, Alexander Sokurov, and a translator, Hiroku-san.
The photographer is Mr. Kosei Miya.

14
“Where have you been?”
An essayist, Mr Kosei Miya, appeared suddenly.
Norshtein wrote an introduction for a photo album
published in Italy by Mr. Kosei Miya, a bohemian.

15
“Congratulations!”
In FIFA World Cup 2002 Japan beat Russia one - nil.
Norshtein called Hiroko-san and sent this fax.

16
“See you again, my friend.”
Those seeing them off are Pirat (the dog),
Tanya, Norshtein, Francheska and Marfa.

17
“A Happpy Birthday!”
14th November 1999. A fax to Natasha Gutman.

.

.

.

.

.

Ha-ha-ha
Hee-hee.

Yurij Borisovich said something offensive to Tanya and smiled with extreme satisfaction while Tanya took vengeance upon him by drawing this picture.
No one remembers what it was about,
and this picture remains.

19
Yuri Borisovich went into a pond in November. those on the shore are
Pirat, Tanya, and Natasha Baskakova who is accusing him severely.
Then he says:
“Nonsense! Kolika would have praised this.”
(Kolika is Natasha’s husband.)

2021
20-1 Norshtein filled his mouth with a handful of raisins.
20-2 He chewed them toroughly and thoughtfully.
20-3 . . . I - i - i
20-4 Director sneezed. Everybody laughed

21 We all sat and were drinking tea.
Norshtein covered his nose with a handkerchief and said,
“Why? Simply, raisins are sweet.”

21
“Yes, it is my grandchild!”
Yuri Borisovich came to the studio in the morning and said,
“Imagine, I have just met my Granddaughter, Yanochika, in the subway!”

What a gem of a present. Thank you, Richard.

- This is my mid-November reminder that Dec. 1st The Paley Center will will host a screening of Mr. Magoo’s Christmas Carol. After the screening there will be a panel discussion which includes the following guests:
- Darrell Van Citters, Animator and Author of Mister Magoo’s Christmas Carol: The Making ____of the First Animated Christmas Special,
- Judy Levitow, Daughter of Magoo Director Abe Levitow
- Marie Matthews, Voice of “Young Scrooge”
- Moderator: Jack Doulin, of the New York Theatre Workshop.

The program starts at 6pm and general admission is $20. All guests will receive a complimentary DVD of Mister Magoo’s Christmas Carol. It’s a good antidote for the Robert Zemeckis version of Dickens’ story.

_______________

May I also recommend, again, Darrel van Citters’ excellent book, Mister Magoo’s Christmas Carol: The Making of the First Animated Christmas Special. I’ve long been a fan of the show (I collected reviews, promos anything prior to its initial airing) it was a treasure found when I got this excellent book. The head-to-head production, also directed by Abe Levitow, of Gay Purr-ee was strong material to read about. It’s a page turner of a book and filled with gorgeous illustrations.

_______________

- As long as we’re promoting Christmas Carols, Richard Williams’ tightly strung version of the story is still available in old vhs copies. You can also find the entire film (in four parts) on The Thief Archives on YouTube.

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, the only real character animation I found belonged to Levitow. The sequence wherein the ghost of Christmas Past opens his robe to reveal “ignorance” and “want” is the capper of the show.

I find the show a little too rushed to properly tell the story emotionally, and it’s an emotional story. But what’s there is as brillinat 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.)

_______________

The songs from Mr. Magoo’s Christmas Carol are principal in the success of that show.

When you’re alone, alone in the world
When you’re alone in the world
Blown-away leaves get blown in the world
Swirled-away leaves get swirled

And hand in each hand was made for the world
Where is the hand to reach for mine back
Where are the shoes that click to my clack
I’m all alone in the world

Millions of grains of sand in the world
Why such a lonely beach?

A hand for each hand was planned for the world
Why don’t my fingers reach?
Millions of grains of sand in the world
Why’s mine a lonely beach?

Where are the heels to click to my clack?
Where is the voice to answer mine back?
I’m all alone in the WOOOOORLD!!!

- 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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3

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5

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11

12

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15

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- I enjoy thumbing through the Art Director’s Annuals. There’s a lot of amazing illustration to view with plenty of ideas and sharp graphics on display. I have, as a good example of these hard-covered catalogues, the 1957 issue. 90% of the book is composed of illustration in the different advertising fields. A small section is devoted to TV spots and illustration. Naturally, I have a strong interest in this section.

Editorial Art, Advertising Art and Television Art all get their chapters.
Here is a pictoral list of the winners in animation for the TV commercials awards in 1957. A number of these spots have remained familiar (at least as images in old animation books - like Halas’ Technique of Film Animation.)

The biggest prize went to John Hubley’s Maypo commercial.

Storyboard Inc. - producer
John Hubley - Director & Art Director
Emery Hawkins - animator

Ford commercial
Playhouse Pictures - producer
Bill Melendez - director
Sterling Sturtevant - Art Director
Bill Littlejohn - animator

Jello
Ray Patin Productions - producer
Sonia Linker - Art Director
Maurice Sendak - artist

Maxwell House
Audio Productions Inc. - producer
Jerome Kuhl - artist

Piels Brothers Beer
UPA - producer
Jack Sidebotham - art director
Chris Ishii - designer

5 Day Deoderant
Storyboard Inc - producer
John Hubley - art director
Art Babbitt - animator

Jello Baby
Ray Patin Productions - producer
Ruchard Vab Benthem - artist
Ken Champin - photographer

Lorna Doone
Bill Sturm Studio
Frank Broadhurst - art director

The Lion and the Mouse - Prudential
Storyboard Inc. - producer
John Hubley - director
Art Babbitt & Emery Hawkins - animation

Coors Beer
UPA - producer
Jules Engel - director
Fred Crippen - art director

Scott Paper Co.
UPA - producer
Jack Goodford - art director
Grim Natwick, Sam Wiggenhorn - animators

Donahue Sales Corp.
UPA - producer
Jack Goodford, Chris Ishii - art directors
Cliff Roberts - animator