Michael Sporn Animation – Splog

- At Buzzco, they are preparing to send a lot of archival art to the MoMA. I’ve been trying to race through a bunch of it to scan it so that I can present it on this Splog. A folder of drawings by Len Glasser had to be organized so that I could send it out. There are certainly some odd bits in there.

Let’s start with a potpourri of pictures.

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This Background stands alone. It’s painted on a cel.

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Then here’s the cast of characters.
A model sheet for the Wacko.

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This W.C.Fields character belongs to Frito-Lay.
Doritos Corn chips; this character was the
spokesman for quite some time.

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There are three model sheets for the bear.

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Let’s get back to some character models.

Len Glasser had a unique style – perfect in its time.

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Cowboys always fill the bill.

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A kid who likes his hot dogs.

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He’s not too happy when he doesn’t have a frank in hand.

It seems to end with the boy not getting another hot dog.

Here are a group of drawings that work together. They’re some layouts Len Glasser did for a spot for NBC; it has something to do with the weather. The floating guy makes it look like it may be part of the story of the sun, the wind and the man with a coat. The sun and wind compete to see who can get the guy to remove his coat first. (Spoiler alert: the sun wins.)

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This seems to be the layout for the whole piece.

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But then, there’s another near-identical one with the addition of a snowman.
I’m not sure where the snowman appears in the spot. Is he the floating head?

This is the Background for the spot.

What follows are the layouts for the animation, though I’m not sure what’s going on.
They’re drawings, at this point, for the sake of drawings.

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It goes to Top Pegs for one drawing.
I don’t know why.

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Back to Bot Pegs.

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Another lone drawing with Top Pegs.

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Bot Pegs.

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This one has No pegs.

Let’s end on a picture of Santa. . .
. . . an original picture of Santa that only Len Glasser could draw.

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A Christmas card? Who knows,
but it’s great.

- Back in the days when animation books were a rarity and actual lessons in books were few and far between, there were Heath Books and equipment. This was a company, if I can remember correctly, which was situated in Florida. They had several books for sale, the most well known was “Animation In Twelve Hard Lessons”. It was spiral bound book and over-sized like the Preston Blair book, it contained detailed instruction on the mechanics of animation.

Bob Heath, I believe, was a former cameraman in animation, and his partner in writing was Tony Creazzo, a former Assistant Animator. If I remember correctly, he was closely aligned with Vinnie Bell in New York. The two were always connected; if you wanted Vinnie to animate, you also hired Tony to assist.

Well, not only did Bob Heath sell How-to books on animation, but he also sold equipment. Paper, pencils, hole punches, even an Oxberry Jr. camera stand could be bought from the company. They had an original design of a light box for sale. Lots of things that could help you set up in the animation business if you had no idea who “Cartoon Colour” was.

I’ve decidded to post this relic of a book, Here in the first chapter is Bob Heath’s “How to Animate in 12 Hard Lessons.”

Front Cover

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Chapter Index

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Back Cover

- There’s no way to know who animated this walk cycle. Perhaps it’s a commercial by Lu Guarnier. Vince Cafarelli was Lu’s assistant; so if I had to guess, I’d say that Lu animated it and Vince did the cleanup.

For the QT movie of it, I moved the character into place so that we could run it on a cycle.

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____________________

The following QT movie was made reworking the positioning
of the character on the pages. This enables us to see a repeated
cycle without Magoo bouncing back to the starting position.

It’s certainly a fast walk.
You figure a natural walk is 12 frames per foot hit / 24 frames for both.
This cycle takes just 18 frames. Presumably it’s part of the overall timing.

- Last Wednesday, I posted a number of models and LOs from this small commercial studio, the Robert Lawrence Studio. The art is quite extraordinary and, in my opinion, is stronger than the work I’d seen from UPA-NY. i’ve been told that George Cannata was the principal designer/layout artist for the studio. Hence, I believe that many of these, certainly the more daring, are his work.

Bill Peckmann told a story of having him as an instructor. One week he took them on a class trip to the Robert Lawrence Studio. This was the first time Bill said he was able to see the inside of an animation studio a life-changing event for a number of them. Wane Becker also talked of this trip. Bill said that George was on a trip to be an artist, and he worked in animation to make a living. Animation profited – commercial animation. It seemed the entire family were artists George Cannata Sr. & Jr. as well as Dolores Cannata.

I’m just going to pick up where I left off last time with more models and pre-production sketches for many commercial spots.

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Jell-o is served, Madame.

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This is my favorite of all the pieces collected here.

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Another variation of these guys first seen in part 1 of this post.

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Same interviewer, different interviewee.

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Here are three models for this Mars Bar spot.

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And here are a couple of layouts.

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Obviously another child.

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Two layouts for a character that could only
have escaped from the 60s.

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Zagreb grew out of UPA.
Styles grew out of Zagreb in the 60s.

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A left over clown.

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Three mothers with a lot of style.

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Here are another group of interesting layouts with style to spare.

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- A week or so back, Bill Peckmann treated us to an issue of the NYDaily News‘ television guide from a typical Sunday issue. Here, Bill completes the issue with some images of Entertainment figures of interest to most older Boomers out there. If only Romney had won, this is the world we’d have seen more of. I still find it interesting that the magazine pictures are in color though color TV hadn’t been introduced as yet. From the “A little memorabilia never hurt anyone” department:

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Bob & Ray lookng a bit like Abbot & Costello

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- Robert Lawrence Productions was a thriving studio in New York in the days post-UPA. Many of the animators moved from UPA, once they closed, to Robert Lawrence. Grim Natwick/Tissa David worked there (freelance), Lu Guarnier/Vince Cafarelli worked there, and consequently, Vince collected a lot of artwork from the spots he did. This post features a lot of that artwork. You’ll see how great the design and styling was at the studio, even though I don’t know what clients or sonsors they were done for. The designers certainly took off where UPA left off.

But first, let me share two in-house studio gags done at UPA.

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At UPA – NY, Lu Guarnier was the only animator
who had a window. Vince Cafarelli and Pablo Ferro
were Lu’s Assistants/Inbetweeners, so they also
had the luxury of a window.

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- OK, now onto Robert Lawrence. The more I look into this company’s work the more impressed I am. The quality of designers and animators on board was extraordinarily high. I have a lot of Layouts for films that are completely lost. I’m not sure what most of the images are for or what the stories of the spots was. I just have drawings, and most of them are impressive, even more so in some ways than much of the UPA work I’ve seen.

So let’s take a look.

First there is the promo art. As an introduction to the company, here are four self-promo pieces that were used as trade ads for the company.

I’ve assumed that these images were created for a print ad in some magazine or another. There are three of them; one comes in a 2-color version.

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Now we get into some of the fun stuff. Here are the layouts done in a million styles, all beautifully drawn and designed. I feel like I want to say thank you to some of the artists involved. If only I knew who the artists were. The drawings and cels were all done on paper with a “Signal Corps” hole-punch. (Looks like Oxberry, but the center hole is the same diameter thickness as the square pegs.)

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This is a beautiful gag told a million times,
but done perfectly in this drawing.

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The inked arms in #1 are the variant. (Possibly a correction?)

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A cel not opaqued but beautifully inked.

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Obviously #5, 6, & 7 are the same characters in development.
It looks like #5 is probably the finished model.

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This looks a bit like Howard Beckerman’s style, but I’d
probably bet against that. The characters aren’t cute enough

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There’s a whole series of chef models

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Then there’s a series of Cowboys.

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Then there’s the farmer milking the cow. Casting problems.

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How adorable is that?
for Jello.

- As I’ve shown in a couple of past posts, Millbrook Bread was a profitable series for the young animation studio, Goulding-Elliott-Graham. See posts 1 and 2.

Vince Cafarelli collected a lot of drawings from various commercials that he worked on over the years, and there’s an abundance of art from this small studio. All of it good to great. Unfortunately, very little of this art is well labelled, and a lot of the ordering of the artwork is pure conjecture to get it to fall into place. I’ve grown quite attached to some of the material from this series and its characters. The design, to me, is just very attractive. Consequently I can’t hesitate to add more to view. Here’s models and art from two more spots.

“Minny” the Baker Model 1

“Minny” the Baker Model 2

Ray Model

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- Goulding, Elliott, Graham was a company made up of comedians, Ray Goulding and Bob Elliott (“Bob & Ray”) and designer/director, Ed Graham. After the Piels Bros beer account did so well, Bob and Ray realized that they should have a larger piece of the pie, so they set up their own studio to produce commercials that featured their voices and their writing talents. This was an instant success which soon dissipated until the studio closed only two years later.

But they had a nice run. Vincent Cafarelli, obviously, had a good time at the studio (he’d left assisting at UPA to work there). In his collection of animation artifacts, there’s a folder of storyboards for commercials they’d made. I’ve put together a number of these boards and will show them here. I do notice that the writing is interesting (compared to any commercial on the air today) and the design is often exceptional. I hope you agree.

- Fred Mogubgub was a rare bird in animation. He was truly out there. Maybe today we’d say he was ahead of his time.

He was a close friend of Vincent Cafarelli’s and did some creative work with their studio. He also left a residue of artwork behind him. I located a folder of layouts and such artwork.

There’s also the program for his Memorial service. I’ve decided to include that here in this post.

Invitation to the Memorial Service.

The cover to the Xeroxed program.

The program, itself. Undoubtedly a Catholic service.

Here are a series of drawings Fred did for a Yakov Smirnoff “Funfacts” piece for ABC tv. These were 20 second spots for the network.

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Fred had to balance the commercialism with the art.

- Tuesday brought an Academy event. Howard W. Koch Jr., known widely as “Hawk,” succeeded Tom Sherak as president of the Academy last August. He came to New York to meet the East Coast members, here, and to congratulate this year’s crop of new members. (Emily Hubley is one of the brand new members in New York.)

There was an excellent reception at the Stone Rose Lounge, a relatively new eatery in the Columbus Circle area. The event was pleasant with a notable number of celebrities milling about: Daniel Craig, Rachel Weisz, Billy Dee Williams, S. Epatha Merkerson, Richard Gere and Michael Douglas. There was plenty of drink (martinis seemed to be the drink of choice) and some great hors d’oeurves. The lobster tacos (about 1/2 inch long) and the meatball sliders were both delicious.

The speeches were kept to a minimum. Howard Koch was the only speaker and he spoke for maybe five minutes. The rest was the members chatting each other up. Heidi and I got to talk with Mr. Koch in a relaxed situation for about 15 minutes. We spent plenty of time with John Canemaker & Joe Kennedy, Emily Hubley & Will Rosenthal, Biljana Labovic, and Candy Kugel with her sister, Tina Hirsch. As I said, it was a pleasant evening.

- Thursday evening I saw a screening of Burton’s Frankenweenie. See my review, below.

- On Friday ASIFA East and The School of Visual Arts Animation Department had a regrouping of the original commercial animation studio, Perpetual Motion Studios. I wrote about this in depth with some pictures from the event, at the end of this post. Scroll down.

While I was watching this event, the Yankees won the division series over the Baltimore Orioles. Buck Showalter and his Orioles put up an amazing fight. I’m exhausted having gone through the competition with this team that came out of nowhere. Onto Detroit, next.

I didn’t get the note from anyone that Cartoon Brew was changing their look. It was a surprise one day to go to the site and find something that looked wildly commercial, all headlines and no stories. Oh, wait. The stories are there, you just have to keep clicking on things. It looks incredibly commercial and blaring so early in the morning. I guess it’s good for them. It was a surprise to me, and it feels a bit overwhelming. I’m not sure I like going to the site of loud headlines. Though they do have all the information in cartoon town. What’re you going to do? You have to go with the flow, even when you’re heading downstream or so it often feels. Congratulations Cartoon Brew.

- I received this in my email folder:

I’m excited to share some big news with you. Anime legend Katsuhiro Otomo is slated to appear at the PLATFORM INT’L ANIMATION FESTIVAL at the end of this month, where they will be screening his new short film, COMBUSTIBLE, and also honoring him with a Lifetime Achievement Award. See attached for a full press release.

It would be great if you could cover this great event and also run the announcement ASAP. I’m including an image as well, and can provide a couple more if you’re interested. As space is limited at this event, please let me know if you are interested in a press pass to the event, and also if you’d like to interview Otomo 1:1 while he is here.

How could I not partake of such an interview. I immediately wrote back to say, yes., I wanted IN.

But first, I had to find out who Katsuhiro Otomo is. I looked him up on Google and found out he had directed Akira.

Now, Akira is one of those films that I’ve never been able to sit through. Lots of overworked, integrated animation takes place in a very convoluted story that is virtually impossible to follow. I didn’t make it past five minutes on the first attempt. Fifteen minutes on the next half dozen times. The film is magnificently rendered large, but totally impossible to sit through.

Look at that still, at the top of this post. Crowds of people running and milling about. No focus; no individuals. This is the chosen still to send out accompanying the film. A crowd shot. Busywork. No focus on characters, no identification with any personality. A crowd. That, to me, is Akira.

Sure, I’d like to meet the guy who made this film. It’s such busywork, that it defies itself and its own creation.

However, the Platform Animation Festival will take place in Los Angeles on Friday, October 26, 2012 to Sunday, October 28, 2012. Jerry Beck will interview Mr. Otomo on Sat, Oct. 27th at 9:30 PM. It might be worth attending. Jerry knows what he’s talking about when it comes to Manga, and Mr. Otomo will be making a rare visit to LA.

On Thursday evening, I saw Tim Burton‘s most recent puppet animated feature, Frankenweenie. This, as many of you already know, is a reworking of the live-action short Burton did in 1984. In many ways it doesn’t improve on that short. It basically tells the same story with an added number of homage sequences devoted to various horror flicks that Burton obviously loved.

The film is sweet with no strong conflicts to trouble little children. The animation feels ever-so-slightly limited, but I liked it. It often felt like there was a smile behind the movement, and that the animators were having fun on this film. Quite a few eccentric moves helped to make the gestures feel more individual. Unlike Para Norman, the film isn’t overly slick. That Leica film felt as though it might have been cg animated. You couldn’t really feel the fingerprints on the action. I do like that aspect of Frankenweenie. I always was sure it was real objects being animated, not some cgi puppet.

However, there was often a stiffness to the motion. In some of the first scenes, the lead boy walks as if his legs had no knees.

This might have been less noticeable if I had been more involved in a deeper story, but that is a big problem with the film. The story isn’t particularly engaging. It’s just sweet.

Of Burton’s three animated features this was the least of them.

It’s Such a Beautiful Day is the title of the feature which Don Hertzfeldt compiled of three shorts he produced: Everything Will Be OK (2006), I Am So Proud of You (2008) and It’s Such a Beautiful Day (2012). These shorts formed a trilogy which Hertzfeldt designed to create this feature.

It opened at the IFC theater in New York and received modest reviews from the NY press.

Neil Genzlinger of the NYTimes wrote on Oct 4th: “Considering that he’s a stick figure, Bill, the main character in “It’s Such a Beautiful Day,” sure does have a complex internal life. And this animated film by Don Hertzfeldt does an amazing job of making you feel it, in all its sadness, terror and transcendence.”

The film will continue to tour around the country playing at many cities from Columbia, Mo to Tucson, Az to Chicago, Il. The planned schedule for the tour cn be found here (scroll down).

There’s an excellent interview with Hertzfeldt in The Onion‘s AV Club section which was printed last April when Hertzfeldt initially toured with the film.

- Yesterday, ASIFA East and The School of Visual Arts Animation Department had a regrouping of the original commercial animation studio, Perpetual Motion Studios.

Candy Kugel spearheaded this event working with support from JJ Sedelmaier, who started in Perpetual. Quite a few past employees of the studio came back for the celebration and made for an interesting evening. For them, it was no doubt a reu-nion, for the rest of us it was a visit to a key commercial studio in New York.

The event was prompted by the recent deaths of three of the key personnel. Vincent Cafarelli, Buzz Potamkin and Hal Silvermintz all died within six months of each other, this past year. Rather than making it a memorial for the three, they made it a celebration of the studio’s work.

Tom Warburton acted as the host for the evening. He originally was an intern starting out in Buzzco Associates, the studio that followed Perpetual. Mordicai Gerstein, Russell Calabrese, JJ Sedelmaier, and Thomas Schlamme all came in for the event and sat on a panel up on stage in front of the screen.

This panel talked about the work done at the studio and the different roles they all played,from designing to animation to making music and sound effects.

In the audience there was quite a fill of other artists and past employees from the studio. Rose Eng and Marilyn Carrington were key people in I&Pt. Background Artists Linda Daurio and Cotty Kilbanks, Animators Doug Compton and Doug Crane, Layout Artist Wayne Becker, Editor Jon Levy, Producers David Sameth and Marilyn Kraemer all reunited.

I came from a different crowd of that same period. Mine was less commercial and more theatrical a group so I didn’t know many of these people. Yet, I knew of many of them and was glad to finally meet some. I was pleased finally to meet Mordi Gerstein, having animated his children’s book The Man Who Walked Between the Towers.

I’ve seen Wayne Becker‘s drawings for years, so it was a pleasure to finally meet up with him. I’d worked frequently in my own studio with the brilliant Doug Compton, so I was glad to see him, and I knew Doug Crane from Raggedy Ann.

It’s amazing the number of people who started out at Perpetual and went on to become important directors, designers, and creators within the industry. They must have been doing something right.

As one who sat in the wings watching the planning for this event, I got to see how enormous the amount of work and the number of phone calls it took for Candy to get the event together, and Rick Broas did a lion’s share of the technical work in planning the video and graphics for the program. They did everything from a film retrospective, to announcement invitations to name labels. They’re both to be congratulated for pulling off a fantastic night’s entertainment.

The program ended with Candy’s latest film, The Last Time, which is a memorial to her close friend and working partner since 1973, Vince Cafarelli. Although it wasn’t a Perpetual product, it celebrated the end result of that studio as Perpetual merged into Buzzco with Buzz Potamkin, Candy and Vinnie continued on after Hal Silvermintz moved to open his own studio. After Buzz moved on Candy and Vinnie continued on with the studio which remains open and busy to this day. The film is sad, but it proved to be a positive ending to the evening. look for the spanking new short on the festival circuit.Go to its Facebook page to see a clip. Candy & Rick are appropriately proud of the short.

Here are some stills I took last night:

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The theater where the show took place.

Mordicai Gerstein and Wayne Becker chat in the lobby.

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Mordicai Gerstein and Don Duga say hi on stage before the show.

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Tom Warburton moderated the panel on stage.

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(LtoR) Mordi Gerstein, Candy Kugel, Thomas Schlamme

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(LtoR) Tom Warburton, Mordi Gerstein, Candy Kugel,
Thomas Schlamme, JJ Sedelmaier, and Russell Calabrese

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Mordi Gerstein and Candy Kugel remain on stage during the
opening filmmontage constructed by Richard O’Connor for the show.

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Mordi Gerstein reminisces.

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JJ Sedelmaier listens to the conversation.

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Sorry Candy. It’s a good closeup even though
my cursed camera caught you with eyes closed.

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Candy and Thomas Schlamme remember.

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Tommie Schlamme, JJ looking out and Russell Calabrese.

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Mordi Gerstein watches some commercials
which he designed many years ago.