Michael Sporn Animation – Splog

This is a continuation of yeserday’s recap post. Tytla was a genius and this scene is proof. Originally in five parts, here are the final three.

Nancy Beiman brought to my attention that T.Hee did some live action reference for Tytla as Stromboli. Here are some stills I located:

T. Hee as Stromboli in reference footage.

- This is part 3 of this large scene by Bill Tytla of Stromboli. The scene started in Part 1 with thoroughly frenetic anger from Stromboli. In Part 2 he tries to catch himself and get a grip on his emotions. Here in Part 3 he moves slowly and takes a 180° turn from where he started. The line against the curve. All this while playing out the lines from the scene. The drawing is stunning, the motion is brilliant, and the acting is the best animation has to offer. Those hands are just great; look at 126.

I pick up with the last drawing from Part 2.

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(Click any image to enlarge.)

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Tytla made sure he firmly planted Stromboli’s feet (in part 2)
before he attempted this firm bow.

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He’s made a solid line of the back, the strength of this move,
by using the left arm held firmly in place.

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This is the bottom of the bow, now he goes back up.

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All of the shapes change naturally in the bow, though it looks
as if it remains a solid. No noticeable change. Solid weight.

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Watch the timing on the hand from here to #128
as Stromboli blows a kiss.
Many an animator today would pop it and call it animation.

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Here’s the final QT of it all together:

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

David Nethery had taken my drawings posted and synched them up to the sound track here.

As stated last week, I’m recapping some of my Tytla posts from the past. This very long scene was originally in five parts. Today and tomorrow all five parts will be posted.

- Bill Tytla‘s work has to be studied and studied and studied for any student of animation. He was the best, and it’s pretty doubtful his work will be superceded. He brought beautiful distortion to many of the drawings he did, using it as a way to hammer home some of the emotions in the elasticity he was creating. Yet, the casual observer watching this sequence in motion doesn’t ever notice that distortion yet can feel it in the strength of the motion.

Stromboli offers everything for that study. I have some old copies of a scene too large (a couple hundred drawings) to post in one shot.

Four drawings (#1, 11, 22, & 48) that shift so enormously but call no attention to itself.
Brilliant draftsmanship and use of the forms.

Here we have the beginning: drawings 1-48. More will come in the future.

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This note arrived from Borge Ring after my first post Bill Tytla’s scene featuring Stromboli’s mood swing:

The Arch devotees of Milt Kahl have tearfull misgivings about Wladimir Tytla’s magnificent language of distortions. ‘”Yes, he IS good. But he has made SO many ugly drawings”

Musicologists will know that Beethoven abhorred the music of Johan Sebastian Bach.

yukyuk
Børge

My first post spoke a bit about the distortion Tytla would use to his advantage to get an emotional gesture across. It’s part of the “animating forces instead of forms” method that Tytla used. This is found in Stromboli’s face in the first post. In this one look for this arm in drawing #50. It barely registers but gives strength to the arm move before it as his blouse follows through in extreme.

There’s also some beautiful and simple drawing throughout this piece. Stromboli is, basically, a cartoon character that caricatures reality beautifully. A predecessor to Cruella de Vil. In drawings 76 to 80 there’s a simple turn of the hand that is nicely done by some assistant. A little thing among so much bravura animation.

Many people don’t like the exaggerated motion of Stromboli. However, I think it’s perfectly right for the character. He’s Italian – prone to big movements. He’s a performer who, like many actors in real life, goes for the big gesture. In short his character is all there – garlic breath and all. It’s not cliched and it’s well felt and thought out. Think of the Devil in “Night on Bald Mountain” that would follow, then the simply wonderful and understated Dumbo who would follow that. Tytla was a versatile master.

Here’s part 2 of the scene:

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The full scene with all drawings.
Click left side of the black bar to play.
Right side to watch single frame.

David Nethery had taken my drawings posted and synched them up to the sound track here.

As I noted last Saturday, I intend to repost a number of the Bill Tytla animated pieces I have in the history of this blog. His work, at least to me, is too important to let just sit there. This post was originally published on this blog in March 2009.

Here is a scene from Snow White, animated by Bill Tytla, in which four of the dwarfs fight Grumpy. The drawing above is the first of these drawings and it shows what it looked like in color – lots of red pencil notes, yellow pencil for rough structural lines. The rest of the drawings I have are B&W copies.

One of the things about Tytla’s work that I just love is the built in distortion he does to the characters. Check out Happy’s face (upper left) in drawing #227. Or Grumpy’s face in #260. They’re beautiful, and when the animation is moving, the distortion doesn’t show. He did as much with Stromboli. I’m convinced this is one of the ways he pulled the inner character out, trying to get Stanislavski’s theories into animation. It’s wonderful.

By the way, if you like this material check out Hans Perk ‘s site. Tytla talks about dealing with forces vs. forms in animation. This is what Tytla was all about in animating.

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Check out Happy’s face on this inbetween.
Then check out Tytla’s drawing (the next one) of Happy.

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Tytla marked his own drawings with an “X” in the upper right corner.
The other drawings are the work of inbetweeners. The writing looks
to be all the work of Tytla.

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Some of these drawings are just hilarious in their own right.

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The P.T. is exposed on ones at 24FPS.

- Well, John Canemaker visited with a surprise. He brought a Bill Tytla scene. But this wasn’t Disney or Terry or Paramount. It was from a Hugh Harman film, The Hungry Wolf, made in 1940 at MGM. Not a very good film, the drawings are signed by Tytla, but they have no ladder indication for an Asst. to do the inbetweens. And most oddly, the wolves are shaded in by Tytla. Also take note of the table being animated into place. Are these animation drawings? Is it LO posing for someone else? And biggest of all, what is Tytla doing at MGM?

Since this would have been completed in early 1942, I can only assume that it was during the strike at Disney that Tytla did some work for Harman in mid 1941. Perhaps he came on as an animation director under Harman, who got credit for directing.

Here are all the drawings.

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________________________
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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 ones
(which seems to reflect the timing in the final film) and left however many

Many thanks to John Canemaker for the loan of the drawings. It was great just touching them.