Monthly ArchiveMarch 2010
Books &Commentary &Richard Williams 11 Mar 2010 08:58 am
Dick Williams’ Survival Kit
- Richard Williams, as we all know, was the genius who single-handedly fostered the renaissance of animation in the 60s & 70s. His London studio became the center of animation when the Disney studio faltered for that period.
Or maybe we only know him as the author of that book, The Animator’s Survival Kit. That’s the book in which he has put his immense knowledge about the technique of animation, and there’s also his series of DVD lectures. Or maybe it’s the series of lectures and the companion book.
Recently released is the revised edition of the book which is at least 40 pages longer and includes a sample DVD to give an idea of his lecture series.
Both books are identical until page 339, the new book expands on the original. It talks about what Williams calls, “. . . the more difficult areas of animation,” such as animal action and gaits and offers suggestions on how to correctly use live action, to help push the medium further. (No mention is made of Motion Capture.) In fact, there’s a long piece comparing use of semi-realistic to cartoon animation.
The book says it’s for all types of animation from 2D to cg from puppet to highly rendered. However, to me, it feels more inclined to speak to the 2D drawing animator. I’m sure there are a lot of lessons the cg animator can and should take from the book, but I’m not sure how much use will be made of it.
Some of the lessons are excellent, but I wonder if others aren’t too sophisticated for those who will use the book to actually learn the craft. In fact, at first glance it looks like the Preston Blair book on acid, but Dick goes into a discussion about the Blair book and then builds on it, taking the material into a very complicated world. The delight is that Dick never sees his lessons as compicated, but moves straight on assuming we’ll all follow. The pages are hand lettered for the final 2/3 of the book, and this is particularly inviting for the artists out there. Howver, the drawings are dense with information and material and should not be confused with anything less than what they are. Richly informative.
a 
b
At first glance, the book looks like an update of the Preston Blair book, but
Dick takes on that point and builds from there leaving no doubt for the reader.
c 
d
The additions are literally added to the end. 40 odd pages that are devoted
to more compicated motion patterns or things Dick left out the his original book.
It’s quite a tool if you use it well. A course, in itself, within the 380 pages. Every dedicated animator should own one, and then they own it they should read it.
Animation 10 Mar 2010 08:45 am
Oswald Flipbook
- Imagine you’re a kid in 1949 eating your Grape Nuts Flakes in the morning. You’re about to pour on the milk when you realize you’ve found the Flipbook that was included in the box. Would that start you on your way of wanting to become an animator? Would you just flip it and throw it out?
Back then the Walter Lantz studio had a promotion going where they gave a number of flipbooks free to consumers of the Post cereal.
The pages were double-sided. This side features Oswald the Rabbit blowing up his tire. The flip side has Andy Panda. Andy is in full color, whereas Oswald was just line work, so you know which one was still a “star” in 1949.
The registration wasn’t very good on the printed page, and I had to adjust a bit to make it work. The paper it was printed on is newsprint and delicate. The images in the thumbnail are about twice the size of the original.
1 
(Click any image to enlarge.)
3 
4
5 
6
7 
8
9 
10
11 
12
13 
14
15 
16
17 
18
19 
20
21 
22
23 
24
The following QT movie is exposed on 3′s to make the action work.
Click left side of the black bar to play.Right side to watch single frame.
Articles on Animation &Bill Peckmann &Illustration &Layout & Design 09 Mar 2010 08:42 am
Jack Davis @ PKA
- The esteemed illustrator/cartoonist, Jack Davis, did some brilliant art and design work for animation when working for Phil Kimmelman and Ass. Bill Peckman sent me the following article from Squa Tront magazine, and he added a couple of illustrations Davis did for PK&A.
Here’s the article:
1(click any image to enlarge.)
Pages 2 & 3 made a double page spread that looked like this.
I’ve split it apart so the images would be larger in thumbnails.
2
3
4
Some characters Davis did for a “Mrs. Smith Pies” ad.
All of the characters should be holding the product in hand.
A PK&A ad by Davis.
And, of course, the notable caricature by Davis of
Phil Kimmelman and his Associates for their print ad.
(As taken from the Funnyworld issue #18 – PK&A
regularly supported Mike Barrier’s magazine with their ads
Animation &Animation Artifacts &Disney 08 Mar 2010 08:48 am
Thomas’ Little Tailor – 3
- What more can I say. It’s arguably the greatest Mickey scene ever animated. Frank Thomas did it, and this is part 3 of the displayed drawings and developing QT pencil test. In case you can’t guess, it’s from The Brave Little Tailor. Many thanks to Louis Scarborough Jr. for the loan of the scene to post it.
130
131(Click any drawing to enlarge.)
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
The following QT movie represents all 183 drawings of the first 3 posts.
As more of the film is posted, I’ll add more of the scene to the QTs.
Right side to watch single frame.
Photos 07 Mar 2010 08:50 am
Stoopid Fotos
- There’s an advertising campaign for Diesel jeans that has filled the local train station (West 4th St, a major thoroughfare) and has gotten my goat. As a matter of fact, a number of other people have brought it up to me, so I know I’m not alone.
BE STUPID – that’s the campaign.
Immediately, you have to wonder what sort of jerk came up with it.
Next to the type a bunch of models are posed in moronic poses.
I guess it’s supposed to be creative.
A guy with a smoking helmet covering his head is very attractive.
Riding the rails.
This is the one that particularly annoys me.
How many creators out there like to think of themselves as stupid.
Perhaps the “creative” character that came up with this campaign.
Living in New York, you find at least some wit in the public.
That’s Sarah Palin stuck to poster.
Bill Peckmann &Books 06 Mar 2010 08:46 am
Cartooning – 2
- It seems like ages ago that I posted the first half of this book. It was written by art director/designer, Jack Sidebotham who had a large presence in the making of the original Piels Bros. campaign done by UPA NY. He also was closely involved with the Scholastic Rock films.
As mentioned in the first post, Sidebotham used the Piels Brothers as characters to waltz through the varied uses of cartooning for this book published by Graumbacher in the 70s.
The book was something I remembered from the period but never purchased for myself. When Bill Peckmann reminded me of its existence, I found a copy on line and bought it to add to my collection and to share with you.
This second half of the book covers the aspects of cartooning that might be more interesting to an audience of animatoin fans. Here it is:
18
19(Click any image to enlarge and read.)
20
21
22
23
24
25
26
27
28
29
30
.
The book’s back cover
Commentary 05 Mar 2010 08:59 am
Coming and going
- It all started on Wednesday when Michael Riedel, the NYPost’s gossip theater columnist, said that Disney theatricals were aiming to bring Dumbo to Broadway as their next big thing. Riedel said that Disney wanted Stephen Daldry (Billy Elliot, the movie and the musical) to helm the transfer, but they were having a hard time convincing him to do the job.
Today in the NYTimes Artsbeat column, the story develops a bit more fully. Disney says that they’re in the very start of development and there’s no immediate plans to take Dumbo to Broadway. In fact, they don’t know where it’ll end up. They did say that Stephen Daldry approached them with the idea, and he is very much the man behind the musical.
Riedel gets about 1/3 of the information and the Times gets another third. Though Disney pooh-pooh’s the idea of thinking of Broadway for it, they wouldn’t have hired so expensive a person as Stephen Daldry if in fact Broadway weren’t the end game. I’m just curious as to how they’re going to develop a one hour aimated feature into a two and a half hour extravaganza. I can’t wait to see “Pink Elephants on Parade,” and those crows should steal the show.
Today, Michael Riedel states that Bobby Steggert will play Dumbo. Steggert appeared in the Broadway revival of Ragtime (that recently closed) and 110 In the Shade. The casting would make it seem closer to reality than Diseny would admit.
I was nervous that it’d be Brian D’Arcy James. After spending a million hours in the makeup chair playing Shrek, I couldn’t imagine him sitting still to take the turn into playing an elephant.
Riedel also writes that, “. . . Stevie Wonder has been approached to write additional songs, although he has reservations because of the ‘racist’ aspects of the old movie.” I suppose they also chose him just to offset those very same “racist” aspects.
The NYTimes has also been writing quite some about The Secret of the Kells and the tough road this independently produced and distributed feature has in trying to win the Oscar vs some of the big studios. Even the smallest of the rest has some major forces behind it. However, I wonder why the article would arrive at our newstand doors so late in the season. Oscar ballots were due back this past Tuesday; it’s a little too late to vote for the film.
However, it’s not too late to see it. The film is currently playing in New York at the IFC center with many shows daily. See it if you haven’t. The film is also reviewed in today’s NYTimes by A.O.Scott. A generally positive review there are a lot of quotes one could choose. “Using the vivid colors and delicate lineations of the Book of Kells for inspiration, he establishes a surprising and completely persuasive link between the ancient art of manuscript illumination and the modern practice of animation. Like the crystal lens that is a crucial element of Aidan’s craft — an enchanted eye that refracts and renews his, and then Brendan’s, perception — ‘The Secret of Kells’ discloses strange new vistas that nonetheless seem to have existed since ancient times.”
Fitting somewhat in the same category is the exclusive box of 3D DVD Coraline sent me this past week. A beautiful box full of a booklet promoting their film, a DVD (one side 2D the other 3D), another DVD of extras and four pair of glasses. The box was individually signed by Henry Selick.
It’s a bit too late for Oscar voting, so I have to assue this was FedExed to me to review as a product on the market. (I’ve been getting a lot of this stuff lately.) I’d be quite happy if this beats UP at the Oscar on Sunday, though I’ve already said that I’m enthusiastically for Fantastic Mr. Fox.)
Regardless, it’s a beautiful package and I love having it. I will write more about it after I see the film again in 3D this weekend. The Coraline people (director, producers and distributor) treated this film and their audience as a class act all the way, and it’s worth my time to write about it again.
- I just did three seconds worth of research to learn that this DVD package was released to the public as a “Special Edition.” I’m glad to see that.
Congratulations to John Canemaker for getting the Print Magazine people to allow him a blog, which he’ll post, once a month. John writes, “The blog format will allow me to explore everything that reflects my eclectic interests, from Giotto to Johnny Gruelle, Elaine Stritch to Snow White, with the same personal perspective I bring to my teaching, lectures, and books.â€
Sounds like some exciting posts are to come. John needs something larger on the internet, and this seems small in comparison to what I might hope for. We’ll see as it develops. In the meantime, take a look at John’s main site. There are lots of writing and artwork within.
Articles on Animation &Bill Peckmann &Layout & Design 04 Mar 2010 09:04 am
Kurtzman on Ses St
- In the old days, before Sesame Street stooped to working with softward developers to get low to free budget animation for their shows, there was an era of dignity on Sesame Corner. Animators were seen as artists and treated that way. Lots of Independent film makers were employed to create design and execute brilliant little animated pieces for the show. They created the hidden gems that made the show glow and helped support the excellent muppetwork of Jim Henson and gang.
The magazine Squa Tront, issue No. 5, features an article about 8 Sesame Street films that were designed and planned by Harvey Kurtzman for Phil Kimmelman and Associates. Thanks to Bill Peckmann, here’s that article.
1(Click any image to enlarge.)
2 
3
4
5 
6
7 
8
9
10
11
12
An image Harvey Kurtzman drew for his Sesame Street film, “Boat”.
His drawing for the Sesame Street film, “Nelly”.
Animation Artifacts &Bill Peckmann &Disney &Models 03 Mar 2010 09:05 am
Ferdinand Models
– Ferdinand the Bull was a precious little animated short. It originally started out as a “Silly Symphony”, but then they called it a “Special” film. It was adapted from a classic children’s book by Munro Leaf which was illustrated by his longtime collaborator, Robert Lawson. The book, published in 1936, created a bit of a stir in Europe where the Spanish saw it as a call for pacifism when they were involved in a violent civil war and were getting entrenched in what would become World War II.
In making the film, the animators who worked on it seem to have had a lot of fun. Ward Kimball led the way by caricaturing others (see below) as the bullfighters who parade into the arena. You can get a glimpse of this in the model sheets from the film. Disney, himself, was drawn as the matador leading the charge. (At least Walt thought it was a caricature of him; Kimball said no.)
In their book, Too Funny for Words, Frank Thomas and Ollie Johnston wrote, “The parade of participants for the great bullfight in Ferdinand the Bull (1938) was a series of caricatures of animators and directors, with the animator who conceived the whole idea bringing up the rear and leering knowingly at the camera. It was rumored that Walt thought the matador was a caricature of himself, but the animator quickly denied giving the character any resemblance to his boss.”
The animator, Ward Kimball, took credit for caricaturing the cast, but said that the Matador was not Disney.
The short won the Oscar in 1938 as Best Animated Short.
Again, many thanks to Bill Peckmann for the loan of these models to post.
(Click any image to enlarge.)
Young Ferdinand
Mother
Bulls and scouts
The crowd in the arena.
Picadors and Banderilleros (obviously before Kimball got to them.)
Picador’s horse.
More Picadors and Banderilleros
I believe it’s Ham Luske leading, with Bill Tytla, Fred Moore and Art Babbitt following.
Michael Barrier corrected this (see comments) From left: Ham Luske, Jack Campbell, Fred Moore, and Art Babbitt
Jack Cambell leads these three, and I’m not sure of the others.
More from Mike Barrier’s comments: Tytla is the horseman at the middle. I believe the horseman to Tytla’s right is a caricature, too, but I can’t remember of whom.
Matador Walt Disney marches in front of Ward Kimball, bringing up the rear.
Ferdinand himself.
Comic Art &Commentary &Illustration 02 Mar 2010 09:32 am
Celebretory Postscripts
- Usually, I’m linking to articles I’ve found in the NYTimes. It’s strange to have the NY Times link to articles in my blog! That’s what happened yesterday when the Times Artsbeat column picked up my reprint of John Canemaker‘s Print magazine article about Finian’s Rainbow and wrote about it. Now that’s a kick for the day.
Speaking of something sorta grandish, I forgot to mention that my studio passed its 30th Anniversary on February 15th. No wonder some of the paint is peeling; we’re getting grander by the day. We’ve done a lot of films in that time, though I wish there were a lot more.
Tom Hachtman recently sent me a couple of brilliant drawings. You’ll remember that he and I were involved in trying to jump start an animated feature version of his comic strip Gertrude’s Follies. Either it was too daring for backers or I didn’t locate the right backers for an animated film about artists and their lesbian supporters.
At any rate, Tom had sent a drawing to the New Yorker (which has published some of his cartoons in the past) which ultimately rejected it. Their tough luck, my fortune.
Than there’s the image he sent a couple of weeks ago in the middle of the media’s scourge of Tiger Woods.
This was originally posted on NowWhatMedia.com where blog owner Martin Kozlowski colored the original B&W image after Tom made a couple of small alterations in cleaning up this drawing. It ended up looking like this:
I love the loose quality of the original picture, so I had to post it.
- As you may have read, Sylvan Chomet‘s The Illusionist has been racking up glorious film reviews since it’s recent premiere in Berlin at the Berlinale. The Hollywood Reporter, though, wasn’t so kind in its review yesterday.
“. . . theatrical exposure outside Europe might be scant. Chomet’s name alone assures some level of distribution on several platforms, but buyers might be wary this time.”
“Tati never committed this downhearted tale to film, choosing instead to end his career with light, satirical fun.”
It does say of the film, “The real beauty of ‘Illusionist’ lies in its drawings. Chomet is a traditionalist here, insisting on hand drawings where 3D computer animation is all the rage in the animation world. The story moves from Paris to London to Scotland, and its cityscapes and landscapes are gorgeous. A final swirling crane shot of Edinburgh, where the camera seems to fly up and over the city, is sheer magic.”
It sounds glorious and beautiful, and I can’t wait. The one animated film worth following.
