Saturday, October 31, 2009

Composition 14 - More Toot On Other Blogs

You can see the same hierarchical principles in these frames as what I talked about in the last Toot post.

Even this assumed jumble of a broken horn is very carefully arranged to frame the character's head. All the negative spaces in the jumble are varied shapes and clear.
All important elements of the picture are separated. The blueish colors of the owl contrast against the reddish BG elements so he stands out.
Don't ever ask me to draw a school room! Oreb pulled it off easily. (I assume easily)
I love these opening titles. A masterpiece in the art of arranging shapes.
Here's the stock Preston Blair/Disney owl dressed up in a suit of angles to make him appear modern.
A problem with trying to make each scene perfectly composed is it restricts the animators. As soon as they move a head or anything, then the composition goes out of whack. That's why limited animation seems best suited for the design style. I should say the limited in animation in this cartoon approaches genius in some parts. - which again defies the goals of UPA's rebellion against Disney.
This is the scene that drives all the modern day hipsters wild. It drove me wild too when I first saw it. But my hipster period only lasted a couple years and I mixed it with funny. Funny and hip doesn't mix well.

MORE FRAME GRABS



STORYBOARDS

There is a similar film called Melody that is superficially in the same style. It doesn't seem as well designed and composed and I'm not sure why:
Too Busy

No Focus. It's just a mish-mash of clutter.
Not enough contrast or use of negative space to make the drummer read.

Characters too close and spaced too evenly apart. Not pleasing designs. Lazy looking.

Ugly balance of shapes.

Wonky broken looking building. Uninspired tree shapes.

Too Busy, textures in BG interfering with characters because they are too contrasty

Background noise and nasty colors jumping forward, distracting from character.
Too even. Left side exactly the same as right side.

Boo!








Friday, October 30, 2009

Animation School 13: Classic Animation Principles and Hierarchy Applied To Stylized Drawing

Is this a rebellion against Disney from within? I don't think so.I think it reeks of Disney to the core. This may look like a simple easy-to-do flat hip drawing like you see in modern cartoons, but it's nothing of the kind.

This is the result of a decade and a half of honing Disney principles, inbetweening and animating on classic rounded Disney characters. It's a Tom Oreb layout and he uses all the tools he learned doing the uncool way of animation drawing. Thanks to Amid for this Oreb composition of an early version of the fairies from Sleeping Beauty-they should have looked this good in the movie!

He came to this style the hard way. Toot WP&B uses almost all the 40s cartoon principles, with a couple of them toned down - which makes it look rebellious or cool.

This style is actually dependent upon MORE RIGID rules than the more organic 3 dimensional typical 40s cartoon characters. It is the extreme conservatism that controls the style and makes it so wooden and soulless. It's like an artistic math problem, existing solely for the challenge of its own problems.

When most people today draw flat, they are starting from no foundation of knowledge or experience at all. They see cartoons like Toot Whistle Clunk and Boom and say "I wanna be cool and rebellious too. Only I wanna skip the hard work and study and just go right to the top and be a designer." Then they draw from the details out with no master plan of organizing the designs. They start by drawing an eye, then a nose, then draw a head around it and eventually get to a finished chaotic picture of geometric shapes all in cluttered opposition and contradiction to each other.

Oreb is instead designing from the big shapes down to the small shapes and fitting all the smaller shapes within the plan of the larger shapes. Starting with the overall composition.
The image is made of two major shapes - the group of cavemen and the girl. These 2 shapes are separated with negative space - a big hunk of it. The cavemen shape is then split into 2 groups of 2 cavemen each-separated again by a negative shape - this one smaller than the larger one between the girl and the men.
Within each group of 2, the men are carefully, thoughtfully balanced against each other using lines of action, negative shapes, overlapping shapes, organic curves....

On the organicness. Here's the main key to the style. These aren't mathematical shapes. They aren't perfect circles, ovals, there are no straight or parallel lines as in today's flat cartoons. These are very organic but on a flattened 3dimensional plane - somewhere in between a 2 dimensional and 3 dimensional space.

The negative shapes exist both in spaces between the characters or in their arm poses, but they also exist within the characters. The negative areas are contrasted against the filled busy areas to provide readabilty and to make you focus on certain areas. If everything was filled up with detail equally, it would be a cluttered mess.

There are lots of contrasts of different types of shapes. Just compare each of their noses to start.

There are contrasts in texture - large flat colored areas against hairy busy areas.
All the characters fit into the larger shapes of the composition, but within each one all the features follow the construction or hierarchy of the overall structure of the individual character.

Next, I'll break down their head constructions and you'll see how they are well thought out and make sense. They aren't chaotic or random breakings of established rules. The eyes fit on the same plane of the head position;they relate to each other, they have direction.

When I first saw this cartoon (and the other handful of chapters of the Cal Arts Bible - Pigs is Pigs, Mars and Beyond and Paul Bunyan) I too wanted to be instantly cool. When I tried to draw in this style and make the characters look like they fit together and were doing something I quickly realized how hard it was to do. Now I know why.

I also realized the effort isn't worth it in terms of the ultimate entertainment value. I'll explain that later too.


This cartoon uses the same principles and more, but is far less restrictive creatively than the stylized Disney stuff.











Was this worth anything to you or did you already understand the style?

Next

How to do the retro flat style right using The Cal Arts Bible....

Stylish Flintstones Comics

Chris Lopez has done us another great turn. I don't know where he gets these old comic strips, but it's generous of him to share them with the world.
I loved these comics when I was a kid. I'm more critical of them now, but still enjoy looking at them. I wish I had them all.
Most of the drawings are probably Gene Hazelton (according to Chris they might be Dick Bickenbach) but both had very pleasing, sedate but somewhat modern styles.
Someone drew a good dead Fred.
This looks like an Ed Benedict character. He told me he ghosted for awhile in the 60s.
I love the great lettering in the comics. The title lettering was always a thrill. Unfortunately these are from truncated versions of the strips that leave out the title panels and possibly other panels. What a crime!
I have been spoiled by widened tastes and discovering many more great cartoonists over the years. Harvey Eisenberg's careful compositions and perfectly balanced poses make me think of these comics as being kind of clumsy by comparison. Milt Gross' wild layouts and funny posing makes this stuff seem really tame to me now.
I think the big difference between strips that catch on and strips that may be great, but not so popular is character. I'm of the opinion that a wide audience reacts best to cartoons about characters, rather than mere genius of execution - or even humor. They'll take mild humor with strong characters over hilarity with weak characters.

Milt Gross, Harvey Kurtzman, Geo. Herriman all did brilliant work, but never created strong characters that the public could latch on to. Segar, a lesser draftsman than all mentioned created Popeye, Olive Oyl, Wimpy, Bluto and a host of interesting characters who could carry long stories and many stories. That's the key. He has drawing skill for sure, but is not as adventurous visually as the other guys.


The Flintstones were such strong and distinct characters on TV, that they didn't need to be executed brilliantly in order to last 3 decades. A mere 6 seasons were played over and over again forever because the public got the characters. They seemed like real folks and people like to hang around with characters more than with geniuses. Same thing can probably be said about Peanuts. Or the Simpsons. I've never thought much of the meandering stories and weak gags in the Simpsons, but I sort of understand how the public got used to the characters through sheer exposure. It's on 12 times a day. It eventually became like visiting your neighbors and befriending them. Even if your neighbors are boring, they are easily accessible and recognizable, so you enjoy their company through familiarity and habit.

Tex Avery on the other hand is an obvious genius, an innovator and very funny, but he never achieved the popularity of the Warner Bros. characters or even Tom and Jerry, who are barely characters at all - but at least they never go away. People got used to T&J because it's all Bill and Joe made for almost 20 years. Tex never settled on any strong characters and it robbed him of the acclaim and riches his greater talent deserved.

The Flintstones comics weren't funny and didn't match the show concept exactly, but were stylish enough to look at and our already strong familiarity of the likeable TV characters made us enjoy the strip version - at least until it got too influenced by late 60s comic strip styles and no longer had any resemblance to the Flintstones. I love silhouette panels in comics and the odd time they do it in animated cartoons. It really tests an artists' skills to make something read clearly in silhouette.
Familiar characters done reasonably well give us comfort. Genius makes us feel and think - or run away if we are kind of stupid. Some folks just want to relax and forget about the day's troubles.

I like Clampett because he gives us everything - fantastic characters and funny stories with great execution.

Hey do me a favor, willya? Type in "Clampett" in that Ligit search slot at the upper right of the blog and see what happens. I'm doing a test.

http://comicrazys.com/2009/10/23/the-flintstones-sundays-1965-1966-dick-bickenbach/

Wednesday, October 28, 2009

Happy Birthday Dad and my obsession with authority

Ever wonder about my obsession with authority figures? It comes mostly from life growing up with my Dad, the ultimate icon of rules and regulations.
"OK, Johnny here are your very first baby rules. No slobbering or puking up mushrooms on your plate."

Look at that sharp blazer he wore to his wedding. See the cool crest? I wish they still made manly clothes like that. Of course they'd have to make real men like my Dad to fit in them.
check out this movie magazine style pic of my Mom and Dad

More authority figures I am obsessed with...
"Crawl like the filthy beast you are? Only man is allowed bipedal mobility!"


Many of my cartoons are inspired by real life.
"I work and slave, just so I can put clothes on your back! And what thanks do I get? BACK TALK!"
Not only did he put clothes on my back, he also slaved away at work every day so he could supply me with all the latest plastic weaponry, which is essential for the molding of every boy's character.
DINNER RULES

"When you bring home the bacon, then YOU can make the rules!" was a favorite sermon of his.
We had lots of rules at the dinner table.

For one thing we had to use the exact utensil and hold it just right or we'd be breaking a rule that would surely bring on the end of the world.There were thousands of utensils and we had to memorize what each one was for. "That's your pickle fork! Not your juice fork! A pickle fork has 2 tines, while a juice fork only has one!"

Every time I heard a rule, I asked "Why?" which drove him crazy. "The world is built on rules! Without rules we'd go to Hell in a handbasket!"

We also had to eat everything on our plates no matter how ugly - like big hunks of ham fat, gristle, creamed cauliflower - otherwise all the little Biafran babies would starve and it would be our fault for not choking down lard.I think this used to be pretty common with parents who had grown up in the depression, but it's still a pretty funny concept to those of us who lived a life of ease our tougher parents provided for us.I find authority something I feel I have an unremitting urge to rebel against, but at the same time find entertaining. Authority figures inspire my most intense cartoons because I have lived my whole life driving them crazy and studying the results of my mischief.

This is what I saw every day coming home from playing after school.
If I saw this action, it was an omen that I had done a bad thing and was about get what was coming to me.

This is what I found waiting for me if I came home with a poor grade in "Social Studies" on my report card. To this day, I still can't figure out what social studies is. Can someone explain it to me?In Summers, my Dad never wore a shirt and that was a scary sight.Especially at the cottage.
I combined some different real life events starring Dad into this Ren and Stimpy scene. This is partly reminiscent of a night me and my teenage friends stayed up all night partying and singing Beatle songs with a couple of the girlfriends at our cottage on Wolf Lake. He gathered the boys all together the next day to warn us we could get "7 to 10 in the big house" for having a "gang splash".Of course, it was OK for him to flirt with all our girlfriends.
"Whattaya hangin' around with these skinny wimps for? Ever see a man hit 4 horseshoe ringers in a row?" CLANG CLANG CLANG! Then he'd follow that up by walking on his hands for an hour and chopping a load of wood for them, while we felt pitifully wimpy
in our dirty hippie hair and cut off jeans with our scrawny legs sticking out. "Hey girls, wanna see how fast I can gut a fish?" Dad would ask. Mom would roll her eyes and go make us some delicious strawberry shortcake. She had seen all this bird of paradise display before.


I don't know about your Dad, but mine has the most magnificent meat stuffed fingers - about 4 times the circumference of modern day wimpy man fingers like most of us have. He must have built these up working 12 hours a day on his own Dad's farm during the depression.

These are the hands of a working man!Here's mine and my artist friends' hands.

"Listen funny boy...I know you think your old man's full of crap, but..." - these are all real lines I heard growing up.
You can't make this stuff up.
Here he is in retirement and he can still kick your ass. ...and catch a whole bucket of fish in the time it takes you to bait the hook.
I find lawnmowers, chainsaws, outboard motors and fishing equipment funny. Why? Because my dad collected them. He had a hundred lawnmowers. The only one I was allowed to use was the worst one -otherwise it couldn't be called "work". The electric one. "You know what gas costs these days?"

So I had to maneuver around all the trees on the front lawn and get the cord tangled around all of them (in my hippie clothes) while a shadowy image of Dad stood between the slightly open curtains in the front window staring at me, rolling his eyes with disgust. Finally when he couldn't take my amateur mowing skills anymore he'd burst out the front door yelling "You Idiot! You're doing that all wrong!" He'd come out and untangle the lawn mower cord, replug it in and show me the right way to maneuver the maze. "What the Hell do they teach you in school anyways??!"Here's the cottage we always went to every year for the summer. This is where we would relive the hardships of the depression by rebuilding the delapidated houses in the hot sun, before ging out to torture innocent fish and deplete the rainforest for relaxation. That's me and my sister Elizabeth below. I hadn't figured out how to rebel yet. You can tell by the haircut he gave me with the magic "Hair Whizz". I wrote a story about the cottage starring George Liquor and my Dad. George goes up to Canada every year to Mike's cottage to live the rugged life and drink real beer, not that watered down American rat-piss.

It's about how they don't make real men anymore, and how kids these days don't know how to enjoy the outdoor life or roughing it. "We're becoming a nation of WIMPS!"


George himself has a lot of Dad in him. Except Dad doesn't hunt. I suspect he actually has secret empathy for fur-bearin' creatures even though he pretends to hate pets.
Here he is feeding a chili pepper to our beloved epileptic poodle, Jocko.
(just kidding, it's probably the mutt's savings purse)

He thinks of them as freeloaders and lectures them about getting a real job. But whenever my sister brings her cats over he plays all kinds of tricks on them and laughs his head off. He likes to put a cat toy on the end of his fishing line and put the toy in the basement, then come upstairs with the rod. As he reels it in, it pulls the catnip mouse up the stairs and the cats do backflips and practically fly up the stairs , run around the kitchen and bump into the walls trying to catch the damn thing.Here's what happens when he makes a funny - or watches Foghorn Leghorn cartoons.

Y'know my Dad has hilarious stories of when he was a rebellious youth, and his Dad was much harder on him than any modern person can imagine - and he was a Priest! He REALLY believed in discipline and enforced it with an iron fist of God.

Grandpa and Grandma came over from the old country (Ruthenia) to escape ignorance, oppression, giant ornery bears and poverty, but carried with them the fear that if you didn't work your fingers to the bone 16 hours a day, you might lose everything you've gained. They were really nice to me. Grandpa kissed me (on the mouth!) every time we met and tried to convert me by scratching my lips off with his stubbly whiskers. I remember the only time he ever scolded me was when I grew long hair.He was sitting next to a picture of the greatest hippie (the guy Republicans love and ignore) in history and said: "The Lord meant for women to have long hair and men to have short hair, so I pointed to the picture and said "What about Jesus?" My dad started laughing his butt off "He's got you there Dad! You can't argue with that sonovabitch kid of mine." I could tell Grandpa wanted to make him kneel on rice kernels for 6 hours to punish him for his own back talk. Grandma, by the way made the most delicious Ukranian food and made you eat 15 helpings at a time. I never complained. See this church below? Grandpa and his friend built it themselves. Boy, men were men long ago.I combined my Dad and his Dad and turned them into Ren's Dad for "Ren Seeks Help". Double the authority in one ultra intense character and I got my Dad to do his voice.

You can't beat real life for story material. That's why I can't take modern animated features which seem to be made by people who have never met other people, and only get their ideas from other animated features.
Seriously. What is this crap?
Why do they keep making it over and over and over again??
It's unbelievable to me.
They must have a computer program that
clones other features and slightly mixes up the order of the plots.

They need some discipline from authority figures to beat some real life into their mushy backsides.
"Did I hear 'discipline'??"


Here's a fairly recent picture of my biggest inspiration showing off his collection of of my cartoon art through the ages.

Happy Birthday Dad! Have lots more!
The perfectly average nuclear family of the 60s
Love,
your disobedient son,
John

______________________________
DAD'S RESPONSE
So I do not know why you hate discipline so much, and why I get frustrated for stupidness whether my kids or myself.

I realy beleive every child should have 2 yrs of military service, where they teach you discipline. cleanliness, respect for their superiors and put up with situations that might cost them their lives to protect the masses that laugh at respect and expect the world owes them a living.
Thanks again for my birthday tribute.

Next Kaspar

Hmmm...what can I do next to these guys??

Is There a Web Designer Volunteer?

I'm thinking seriously of breaking my blog up into different sites because the subjects are so scattered.

To start with I thought it would make sense to put all my comics, and storyboards on their own site. I would want to aim these at a wider audience than say the folks that come here to learn cartooning tips. So I can sell more advertising and make some money.

Anybody have any ideas how I could structure a comic/storyboard site?
Should I do it on a blog? Or a regular website where people can find the different chaacters and click them to read their stories?

Are there sites I should be looking at for ideas?

Here's my problem. When people try to tell me technical stuff, it sounds like this:

"blog format for the free form teaching and "check this out!" stuff. The static-ish traditional website can, and should be slicker and more youtube/portfolio like for people searching for entertainment and introductory info - can be fresh if built with modular approach and a good Content Management System (CMS) - Lots of Wordpress templates or even Joomla... Gotta feel comfortable around the backend of a website, but you get up to speed quickly, as you are currently with Blogger. Many options..."

I can't read that at all. That's how ignorant I am of computer lingo.

Monday, October 26, 2009

The Joys Of Working With Vincent


It's hard to imagine 2 cartoonists with such different styles as Vincent Waller and I - and that's one reason why I like working with him.
Vincent draws much better than me on a technical level, and his influences are probably a somewhat different group than mine. I suspect he's a big Robert Crumb fan- I'll let him tell you who inspired him. But his style is totally unique to him and he gave animated cartoons a big kick in the ass -which it needed.
What I like about collaborative animation, as opposed to independent animation, is that you get to combine the best of a bunch of artists' talents - in theory.

For example the comic book cover above is drawn by Vincent, probably inked by Shane and beautifully rendered by Rick Altergott of Doofus fame.

FUNNY RICK ALTERGOTT COMICS AND BOOKS

Like I said, I always liked the idea of working with artists who have different styles and abilities, but there was no studio I ever worked at that encouraged it. Instead, they always encouraged everyone to draw exactly the same and to always use the same colors. The only way I could ever even get my own style into a cartoon was to build a studio that not only allowed it, but actively encouraged it. I had to redesign the whole production system of TV animation just so I could have a fun place to work, and others with strong styles could actually see their input in the finished product.


Vincent was one of the main cartoonists on Ren and Stimpy and quickly worked his way up to director. It was because he has a really strong style and original point of view, he works super hard, and he makes it really easy for people to work with him. He believes in collaboration too.


These comic pages are nice examples of collaboration between different cartoonists.

Before we ever started drawing a finished cartoon or comic, we would "write" it. We'd start with a gag session between a few cartoonists, write a structured outline to keep the story in order, then I'd assign someone to draw the story in rough sketches like these. Along the way the story sketch artist would add lots of extra gags and do the continuity.I would sometimes scribble on top of Vincent's drawings if I wanted to use a different staging or expression. Once the roughs were completed, the final artist- Vincent here, would draw tighter more detailed drawings. Then I'd get an inker (I think this is Shane) to make the final art look super polished. A good inker is a Godsend. Shane preserves the guts of which ever artist he inks, but also brings his own style into the work - without changing the art underneath.
If you wanna see how much influence an inker has over the finished look, go and find some Jack Kirby comics from the 60s. Every inker made the stuff look different - and some of them actually hurt the art underneath. Joe Sinnot was my favorite because he preserved Kirby's style and dynamism and made it feel even more solid - like Shane does.

Sometimes I would throw a post it on top of a panel if I wanted a completely different staging as in the lower right panel on page 28.I would like to make a pot about the difference between "individual style" and "group style". Vincent, Jim Smith, Katie Rice, Bob Camp, Gabe Swarr, Nick Cross, Helder Mendonca and many of the top Spumco artists (I could name a ton more, so don't feel left out) of the past have very strong individual styles. I of course, blended my own and other artists' styles in the cartoons and that's what you see in the final work. It's usually pretty easy to see when one artist leaves off and another picks up a scene. I, being a cartoon and comic nerd and huge fan of cartoonists love to see different styles within the same worlds. That's one of the reasons I love Clampett, 60s Marvel comics and Terrytoons.

It's also why I hate model sheets - or at least the way they are usually used.

Besides the few really strong individual styles that exist, there are also the "group styles" - the Disney style, the Spumco style (which is really the "Games style"), the Anime style, The Canadian style. I discourage that in my cartoons. I've hired many talented Cal Arts graduates and had to encourage them to stop relying on stock expressions and poses and to just train their pencils to put their own personalities on paper. Some learn to. Others are forever trapped in whatever group style they have absorbed.


One Cal Arts kid who started at Spumco is now making the most cartoony cartoon on television. He is super talented and worked extra hard at Spumco.
I've known many cartoonists who personally have a ton of individual quirks-funny facial ticks and expressions, unique gestures and are great storytellers. Some of them have been so conditioned by a group style that they don't translate their natural personality traits through their pencils no matter how much I beg them to. It's because the other studios they've worked at actively frown upon it and they have made a habit of suppressing themselves at work.

Anyway, Vincent has no qualms at all about getting his personality into his drawings, in fact he can't help it - and also no qualms about mixing them with other quirky artists to try to get the best possible results through collaboration.

This is not to denigrate Independent animation. Some artists are so unique, they just want to say what they have to say and the only way they can do it is to completely make their own films. Bill Plympton is a super talented and unique and funny guy that has made whole feature length cartoons by himself!

I always wondered how he did that and then I did a show with him in Chicago and witnessed his secret for myself . But that story is for another day.

Today, let us honor Vincent for kicking our animation butts.



VINCENT

Sunday, October 25, 2009

Stimpy's Invention

This cartoon almost never got made because the Nick execs hated the story so much.
Some great Bob Camp poses I had to cut just so we could be allowed to make the cartoon at all.
They were afraid this cartoon would be too scary for kids.
The cheeriest (and one of the funniest) fellow in cartoons.



Bob J did such a great job on the animation direction and even went to the Filipines to follow it through, that I had to go to bat for him again just to get him an upfront credit. Nick always hated when I asked for extra credits. I have no idea why, but that was the case. They themselves added all kinds of credits to the show - of people who didn't do what they got credit for, and half of them that we never even met!A couple Bob Jaques animation drawings from Stimpy's inventions.

some frames of scenes I drew the layouts for.


This whole scene I added at the last minute to replace all the scenes I had to cut from the story:
I'm not sure, but I think this might be a Chris Reccardi layout.

Stimpy's Invention was 2 months late because of Nick delays and because they hated it and sat on it. The next year, they told us to make more cartoons like Stimpy's Invention and Space Madness.

Hey Vincent, do you remember any of this differently?

Saturday, October 24, 2009

Kaspar's Toenails 1. Wild Ruthenia

It's been a long and brutally cold winter in Ruthenia. Kaspar is in deep hibernation in his lair.Between snores, we hear his toenails growing ever longer.

Spring arrives. The snow melts, buds sprout, rocks come alive again.
A slavic pecker bursts out of a tree and flies into Kaspar's cave. In Ruthenia, God has assigned one woodcock per every bear as part of his perfect cosmic plan.

Kaspar is fast asleep, snoring as the springpecker is perched on his head.

Peck, peck,peck comes the rapidfire tapping of the birdie's little beak on Kaspar's unkempt noggin. Kaspar's eyes twitch and slowly open one at a time, ripping away the tranquil crusts of winter's slumber.
Kaspar is awake!
Up, alert and ready for spring habits.
He checks his toes.

Yes! The nails have grown extra long this year!

He wiggles them vigorously, forcing the warming blood to rush into his leathery lower digits.

To be continued...

BTW, I'm not sure how long I'm gonna keep the blog open, so if want any past lessons or resources, you might wanna snap them up now, while I think of some better way to bring back cartoony cartoons.

I never expected to get thousands of visitors a day, I just put it up for a few of my cartoon friends, but now it's become a stranger responsibility and understandably, personal opinions are not always welcome in public. Just that I have the opinion that there should be a place in the animation business for plain old cartoons to reach a wide audience seems to be a radical idea to some readers. Who could have guessed?

Thanks for all the nice comments. They are well appreciated!

Friday, October 23, 2009

Toenails 2

continued from:

http://johnkstuff.blogspot.com/2009/10/kaspars-toenails.html

Kaspar crunches his way through the spring forest.

He encroaches upon the lair of some indigenous Rangers.




Kaspar daintily sneaks in through the window, one fuzzy haunch at a time.
He roots through the top drawer of the dresser. His instincts drive him.
Aha! Just what he's been waiting out the long winter for!
Ranger Malinysky and Little Horst are lost in dreamland cavorting with their favorite things.
Nyes! Kaspar is ready to perform his role in the ecosystem!

PART 3 CONTINUES

Toenails 3

http://johnkstuff.blogspot.com/2009/10/kaspars-toenails.html

http://johnkstuff.blogspot.com/2009/10/toenails-2.html

Kaspar lifts the sock and stretches the opening.He sinks his foot into the sock and forces it in good.
His toenail bursts forth!
He is one proud Slavic bear. This is what he has waited all winter for.
Now to swing the leg back and forth and savor the snugness.
Oh yeah, that feels good.
Well, time to remove it now that the job is done.

Place.
One by one, the hairy behemoth pokes his winter growths through the man foot coverings.

toenails-4-and-new-plaything

Toenails 4 and a new plaything

Kaspar admires his dastardly wreckage.

He places the torn socks back in the drawer.

Time to see what other fun is to be had.
Hmmm.....interesting.

What sort of thing is this?
Man surely is the oddest creature on the steppes.
Mischief chemicals surge through Kaspar.
His eyes shimmer in a dazzling display of changing colors
while the Heavenly Father in His infinite wisdom
plants the seed of demonic inspiration
into his ornery mortal brain.

MORE heinousness...

Toenails 5 - Underpants Opus, and Big Thanks

Story starts here if you just found the blog:
http://johnkstuff.blogspot.com/2009/10/kaspars-toenails.html

Wow. I'm overwhelmed by all the great response since I've returned. Thank you heartily!
I feel I owe you a special extra excitement in today's post.
Originally I was just gonna have Kaspar stretch the underwear bands and destroy them simply, but everyone seemed to have greater expectations. I hope I don't let you down.
So I went back and added this little action just for you.
Kaspar's instincts kick in. He seems to know that the red line is the support system of the man's most honored secret garment.
The clench of a Ruthenian bear has the pressure of 10,000 lbs per inch. Don't get your BVDs caught in it!
Now for some stretching. This performs 2 functions. It's good exercise for the bear and keeps his teeth healthy. Special amino acids in the elastic prevents gum disease.


The waistband is duly destroyed and no one could be prouder than our ferocious forest friend.
Aaaaah...but it's all in a day's work for Kaspar. These are the kind of simple joys that make life worth living.

Hey!!!
There is a pungent residue left on the lips that tasted man's hider of nasties.


To be continued...

http://johnkstuff.blogspot.com/2009/11/toenails-6.html

You know, this is an interesting medium. Unlike TV cartoons that take months to make and I don't see the reaction, here I get instant reaction from you, and it makes me think that this is sort of like when a stand up comic reacts to the crowd and alters his material on the spot. Maybe I should just do online comics like this and see if it turns into anything.

Of course I gotta find a way for it to pay the bills, and here I want to give an especial thank you to all who have donated in the last few months. I know these are tough times, so it's extra appreciated.

EXTRA SPECIAL THANKS TO THESE PALS OF CARTOONS











Here's a funny cartoon from Mr. Paaaaaaaaal

Toenails 6 -

Continued from:
http://johnkstuff.blogspot.com/2009/10/toenails-5-underpants-opus-and-big.html
Or you can start at the beginning:
http://johnkstuff.blogspot.com/2009/10/kaspars-toenails.html

Kaspar, being a creature of nature, is not sure what he has wrought, but just knows it feels so right.
His job is done.
His grip relaxes, releasing the ruined man thing.
With cocksure deftness he closes up the man's drawer, swings around and makes good his escape.


Hold, on wait a minute....more chemicals harken.
Slyness in the Ruthenian Bear is an adaptation to the harsh conditions of the Carpathian climate.
Clip clip clip clip clip
Snapitta clippita clippita, snip snip tyoink!



No need for these anymore. Might as well leave them for the next link in the chain of life.

One living thing's discarded keratin is another's much needed irritable

to be continued...

http://johnkstuff.blogspot.com/2009/11/kaspar-toenails-7-waiting-at-window.html

Kaspar Toenails 7 - waiting at window

continued from:
http://johnkstuff.blogspot.com/2009/11/toenails-6.html
Or you can start at the beginning:
http://johnkstuff.blogspot.com/2009/10/kaspars-toenails.html
Kaspar departs his mount of mischief








Now to wait for the innocents to wake for their own morning ritual


http://johnkstuff.blogspot.com/2009/11/kaspar-toenails-8.html

Kaspar Toenails 8

The native Ukranian woodcock nests in Kaspar's esophagus, and comes out once a day to greet the morn.Tato wakes with a start at the screeching alarm.

Ranger Malynisky scratches and smacks himself to consciousness...
While Kaspar patiently waits for his rewards
Fully alert, the adult of the hominid species is eager to attend to his own instincts
He awakes his one surviving young
Off they march to their morning rituals
Kaspar being a primitive creature, has only 3 emotions: Hate, Kill and Mangle.
He hungers for the more sophisticated emotions of man and instinctively sets his traps that he might partake in the bountiful and complex reactions of the higher species who survives only by his mercy.
Next chapter:

http://johnkstuff.blogspot.com/2009/11/toenails-9-thanks-providence.html


Don't forget!
George Fist
BUY A SHIRT FOR CHRISTMAS!

Toenails 9 - Thanks Providence


Malynisky and his beloved surving infant son Horst shiver at the dresser, in dire need of soul-nurturing undergarments.Being from a very reverent lineage, Malynisky stops to insist they give thanks to the Great One who provideth snappy waistbands.

Tato (father) reaches for his most cherished graven image, handed down through generations of Slavic Ranger herds.
Young Horsts's infant breath is sucked away by the magic emanating from the Byzantine icon.
He is overwhelmed by the magesty of the greatest hero of all Slavdom.

It is not only permissible but in fact encouraged for males to kiss other males in Eastern European tradition. (I, unfortunately know this from direct experience!)
To be continued:

BTW, I'm thinking of offering all these original storyboards and sketches for sale. I wonder if any of you would be interested and whattaya think they'd be worth per page? I'd sign 'em of course.

Next:

10 Shock Of The Real

Thursday, October 22, 2009

Johnny Hart's Cartoon Physics

Johnny Hart's drawings look simple on the surface but they are very clever, I think. He has a great natural sense of cartoon physics or cause and effect - how one event leads logically (or illogically) to another.
It looks like he could have been influenced by Roadrunner cartoons.
His drawings have a lot of tension and feeling in them too. Each drawing contains a lot of complex information. ...and the continuity of the successive drawings is brilliant. He only has a small number of panels to describe a lot of action. Making the decisions of what parts in between the action you can leave out and still get the idea and gag across is very brain-intensive. I have trouble with that. I want to show every tiny fraction of action in my continuity and it tends to drag out the cartoons longer than necessary.
On the other hand, Hart is one of my biggest influences and largely sub-consciously. My storyboard scribble style is much like his finished drawing style. Fast and just what is essential, without worrying about making a perfectly polished drawing.
This is how I see the function of storyboards-to convey the continuity and essential part of the gag, feelings and story.
What's really hard is hanging on to these essentials from department to department in an animation studio, where the successive polishers smooth out the finish, but sand down the guts.

Look how much information and feeling is packed in that middle panel of the Dinosaur smashing into the tree. You see the impact as the main action. The tree is being ripped out by the roots as a secondary action and the roots are dragging in the opposite direction of the tree. On top of that, all the dirt is flying off the roots. The leaves are being smashed against the top of the tree in heavy bunches and a few individual leaves for texture.

Then the tree impact is causing Peter to fly out of the leaves on a raft (why does he have a raft in a tree?)

Hart is conveying pacing in still drawings, without the luxury of animation and real time. Very impressive.

You have to be a very good editor to draw powerful comic strips like this.

Tuesday, October 20, 2009

My Favorite Newscaster

Anyway, here's what I had to say about Anderson. I like him because he seems pretty balanced-even though he's probaly liberal leaning personally.
Unlike other supposed newscasters and interviewers he doesn't cut people off in mid- sentence, but he also doesn't let them get away with lies. When they say something that the facts conradict, he calls them on it immediately and presents them with the facts and gives them another chance to defend their statements.
I also think he has a great head, He's fun to draw. These are from memory.

Space Madness Gets Extra Credits


This was an episode where I had to go back to Vanessa and ask if we could give more credits upfront. "Oh, John...This one time only!" was the response. Then later I did it again for a couple other eisodes.

Original notes from lunch with Jim and John about space episodes above, then turned into a simle premise below:


I had to rewite the "crazy talk" speech about 5 times to get Nick to approve something. This is one attempt

Jim Gomez wrote up a more detailed premise, then I fleshed it out to a long outline and went through many passes and revisions with Nickelodeon. It's a particularly long detailed outline or I would scan it to show you.
I wish I could find the notes where they told us to "drop the space eisodes. We don't like space." Richard, do you have them?Jim designed the look of the future for the show studying old Popular Science pulp magazines and books about the Streamlined decade and 40s vacuum cleaner catalogues. The Spumco book will have lots of his art.




Chris did some great designs while he was storyboarding at the same time. he did the long vertical pan of the weird machine in the History Eraser Button room for one.

Oh, and David Koenigsberg did the cool waving credits and fx at the beginning of the cartoon-the old fashioned way, under a camera with ripple glass!

Henry Porch picked out Dvorak's "New World" for the opening music, which lent the cartoon a very serious ominous atmosphere.

Bill Griggs did a phenomenal job editing the music and Tim Borquez killed himself coming up with all the cool old style science fiction sound effects.

Mike Fontanelli did the layouts of Ren and Stimpy at the end for the History Eraser Button Sequence. Maybe I have some frame grabs somewhere.

A lot of other good artists all worked on the show. A cartoon like Space Madness could never be made as an independent film - or even at another studio with all the same people. It took a lot of top talent, a production system designed for talent and a sympathetic creative director and who urged the best from everyone - oh and a network executive who allowed it to happen. More than what we all thought we were capable of, I'm sure.

Monday, October 19, 2009

Artists Finally Win Some Respect and Credit

The kind of animation I like is studio cartoons as opposed to independent animation. I think you can make much better stuff if you work with people who have talents you don't. I don't believe one person is completely responsible for every creative act in a cartoon, although one person should oversee it and make it all work together.
beautiful title card rendered by Bruce Timm, but the credit goes to some writer

Like I was saying in the last post about credits, in the 1980s no one in the business thought the artists had anything creative to contribute to the cartoons. (I'm sure they still wish they didn't need us pesky artists and would love a computer program that could finally get us out of the way.) The studios gave the writers credit before the cartoon started, but not any artist, not even the director. Well maybe because there were no directors in the 1980s. Not until Mighty Mouse. Ralph Bakshi was the first guy to open a studio and put the artists totally in charge of all the creative aspects of the cartoons. I instituted a "unit system" inspired by the old Looney Tunes system, where each unit had a director in charge who followed the whole production through from start to finish. We even had to bring back a whole job category - Layout - a job that the other studios didn't deem creative and were shipping overseas. This created at least 20 new jobs for American artists that did not previously exist.
But still no one got credit upfront-not even the writer this time (maybe because we were cartoonists too.)

The first time I was ever able to credit an artist on a title card before a cartoon was amazingly on Beany and Cecil in 1988. ABC hated artists, but the Clampetts and Richard Raynis supported me giving at least the directors credit on some of them. Quite a breakthrough.There was a lot of visual fun in Beany and Cecil and I wished I could give more of the artists credit - especially the storyboard artists and the key layout artists - the ones that were making the show have at least some interest.











But like 80s shows, they just piled everyone's credits together like cattle at the end of the cartoon and ran by them so fast that you couldn't even read them, let alone know which artists worked on which episodes.
I always liked reading the credits on old cartoons and trying to figure out who did what and seeing the different styles. I wanted to bring that back (while also bringing back the whole concept of cartoonist-made cartoons).
When we did the pilot for Ren and Stimpy I made sure everyone got prominent credits. I didn't ask for permission; I just did it.

I even painted the end credits myself and hand lettered them (well Libby Simon inked my hand lettering).










When we started the series I had to negotiate the amount of upfront credits. I had given an animation history lesson to Vanessa Coffey and explained the old unit system to her, and that old cartoons were not "written", they were drawn on storyboards. She agreed to this system. At last!
So I got together the funniest artists and we came up with story premises that we'd pitch to Vanessa. Once she OKed them, we'd then write an outline that was 2 or 3 pages long. Whoever physically wrote up the outline is who I'd usually give the "story" credit too, even though all of us helped gag each other's stories up.
I also negotiated for an upfront storyboard credit, which was unheard of at the time. The storyboard artists at Spumco were generally the same group of artists who came up with the premises and outlines but we would add a ot of gags and story material in the storyboards-the way cartoons should be written, and used to be.
I also wanted to credit key layout artists, animation directors, designers and background painters but couldn't get permission. Just getting a couple artist credits at all was a real victory in 1990.





Nurse Stimpy came out so ugly to me, that I didn't give myself credit on it as director.

I seem to be missing the storyboard credit, but am pretty sure Jim, Bob, Vincent and I did it.

Firedogs was written in an afternoon to replace a George Liquor cartoon that got rejected.
Jim and Chris made a very lively and funny board and added more gags.



This story came out of a deal I made with Vanessa. She didn't like the booger, fart and gross jokes we wrote, so I asked her if I could trade them for something she wanted. She wanted heart.
I was listening to the classical music in our APM stock music library and put on Clair De Lune by Debussy. I started picturing a sad scene with Stimpy in a fairy tale setting and that became The Littlest Giant. I pitched the story idea to Vanessa while playing the music for her and tears welled up in her eyes. She loved it! I tell you, that's a way to work with execs. Trade 'em. Find out what they like and meet 'em halfway. Not by eliminating or toning either of your tastes down, but by taking turns doing the kind of thing each of you like. This was very easy with Vanessa. Many times I would make up story ideas on the spot after asking her what she was looking for. Stimpy's First Fart was one of those.

Once more executives started to get involved, this became harder to do. There were too many "no"s coming from all directions and the idea of being fair and trading was harder and harder to achieve. Even people who weren't executives started sending us notes! Vanessa's secretary, a month after we had shipped the first couple of episodes to be animated, sent us a 30 page list of changes she wanted on our storyboards! Stories that were being animated and had already been signed off on by Vanessa. And what were the changes about? 90% of them were to tell us that the scenes on the storyboards didn't "hook up". A secretary telling us that.






Once artists starting seeing other artists get credits at the beginning of the cartoons, more and more wanted them - and I didn't blame them. On certain cartoons, I went back to Vanessa to beg for some extra credits for certain people who had done outstanding jobs on particular cartoons. This got me in a lot of trouble since we already had a signed agreement for story, storyboard and director only, but when she saw Space Madness and a couple other extra special pictures I bent her to my will. Others above us didn't like this encroaching artist recognition though. Especially when the press started coming over to Spumco regularly and I would take them around to interview and photograph all the artists at work.

To be continued....

Thanks to David Shreve and his crew for the frame grabs from Ren and Stimpy!

The Good Movie

Kali dragged me to this movie on the weekend and I'm glad she did.

This is an actual "no-filler" movie. It's funny from beginning to end! I didn't spot a single executive theory in it.

The writing is funny (both plot and dialogue), the acting is funny and the direction is funny. Even the music is funny. And it's really clever. It's absolutely full of inventive custom touches in the actions, editing, actors' expressions and gestures. I couldn't believe it.

Seriously, whoever wrote the dialogue is a genius. This is real writing with skill, observation and a point of view.

The lead actor, Michael Jai White is perfect. He plays it straight but in a very funny way and has lots of other talents besides acting - which the producers are smart enough to show off to us.

It's eerie. I got all nostalgic for the 70s - which I hated living through. This felt even more like the 70s than the actual 70s and made fun of all the right stuff.

It also bravely brought back ethnic humor - which has been banned by white liberals for decades. It gets away with stuff no one else could today, making fun of white people, blacks and Asians all - oh and it's sexist too. In short, it's honest and made for real life humans - not focus groups and pseudo-psychologists.

Violence, some grossness but not for the sake of making you sick. It even makes fun or orphans which I didn't think anyone could do. The most amazing thing is that it breaks open a pile of modern taboos, and does it in a completely upbeat happy way.

I'm so used to modern entertainment going straight for the ugliest feelings possible, but I have to say this really lifted my spirits. I hope it makes a pot of money and wakes up Hollywood. I wish cartoons were allowed to be this inventive and whimsical. I'm super jealous.
But it does have some funny animation by my friends at 6 Point Harness.

Not for kids, unfortunately. Go see it and tell me what you think. Support non-filler entertainment! We're gonna go see it again and bring all our curmudgeonly pals.

Sunday, October 18, 2009

I just Saw A New Movie

and it was actually good from beginning to end

Are Cartoonists Valued In The Cartoon Business?

Next:

Who should get credit for a cartoon's success?

When an average person thinks about cartoons, who does he thinks makes them? Probably cartoonists, right? I mean, they're called "cartoons", not animated scripts. Do they sell script pages at cartoon galleries?

I know when you get a couple cartoonists together drawing in public - like at a restaurant, they quickly amass a crowd of waiters and customers gushing over the funny scribbles we do, and making requests for us to draw them some cartoons. They ask us to draw their favorite characters and to draw their babies and pets. And they demand "funny". "Darw heem weeth a really beeg nose". And they have a million theories about the wonders of talent. Everybody enjoys a cartoonist. Well almost...

I can't imagine people crowding around cartoon writers and asking them to write them a funny paragraph, can you? "Excuse me sir, can you write me a funny Sponge Bob gag?" or "Write my baby."

Caricaturists are extremely popular at parks and parties. I've never heard of anyone paying to have a verbal description of their face written about them. ...Although Eddie is a great verbal caricaturist and I'd pay to read his descriptions of people's unflattering gifts from God, but I think he's the only one who does it so there isn't yet a market for it.

I know general average folks appreciate cartooning talent because I witness it all the time. Almost everyone. But when I got in the business I found out that the business itself didn't appreciate the people who are the reason the business has a market at all.

Cartoonists were at the bottom of the totem pole. Executives confer with "writers" and gave them the sole upfront credit for each cartoon.

REAL WRITERS

Now when I think of writers, I think of people who have something original to say and the gift of verbal communication to pass on their unique points of view to the public. Novelists, maybe some old time poets, journalists, people who have a burning desire inside to share their thoughts about subjects of which they have personal knowledge - like Ted Geisel, have a great imagination and unique communicative skills.

There is a another kind of writer though who has no particular point of view, no knowledge of the subjects he writes about, no imagination and no love for cartoons - and not the least amount of skill or talent for communicating anything fresh or interesting.

WRITERS FOR HIRE


These are "writers-for-hire" a kind of wimpy mercenary who will write anything for money on demand. This is what we had in the cartoon business in the 80s. A "writer-for-hire" would write a superhero story one day, then a Smurfs the next day and follow it up with a "Muppet-Babies". never- ever would they be caught dead talking to the artists about what they would like to draw or what they thought would be funny.

These parasites for some reason were the only people to get any credit in the title card before a cartoon.

Meet a writer for hire who explains arena to you. See her say these things with a straight face.

"I remember from being a kid are usually the ones that deal with things, like for example, in The Land Before Time, deals with the death of a mother figure"

Wow, that sounds pretty damn funny.

"If you're making a cartoon, you can have free range to put your story in where ever you want, because you don't actually have to make the place, rather than, you know, of course you have to draw it. You don't have to make it."

She means she doesn't have to make it. The cartoonists slaves do.

"So if you really want to elevate your cartoon into something more than just a "cartoon", incorporate these real life themes."

Or why not write something that isn't animated and see if you can sell it on the basis of your immense skill?


How to Write a Cartoon Script -- powered by eHow.com


more rant to come and what changed all that...

Saturday, October 17, 2009

Mighty's Benefit Plan 1 -

Hey the Bakshi Mighty Mouse cartoons are coming out on DVD soon.
World famous Jim Reardon wrote the script for this heartwarming episode. It was inspired by Bob Jaques' adventures working on the Chipmunk movie. He and I came up with the idea over lunch one day while working on Mighty Mouse. We were laughing our heads off in the car on the way back, never really thinking we could make the cartoon, but I pitched it to Ralph just for fun. He laughed and said "Make the Goddamn Picture!"
Here's a great couple of BG layouts drawn by Ted Blackman. It was probably painted by Vicki Jensen.
This is the cartoon show where "retro" and "wonky" really took off. It started a lot of trends. Of course, PeeWee was doing it at the same time in live action and he also started the trend. Our 2 shows played back to back on CBS' Saturday Morning block.
http://www.cartoonthrills.org/blog/spumco/MightyMouse/MBP/1MMScrappyFly2.mov

Read more about angry men and talented rodents.
Chipmunk LP
http://www.animationarchive.org/2009/10/animation-history-of-chipmunks.html

I loved this show as a kid!

Friday, October 16, 2009

Writer and Screen 3 - stuff that cartoon writers don't know





and sure as Hell don't give a hoot about






http://johnkstuff.blogspot.com/uploaded_images/PDVD_028.2-702279.jpg
http://www.animationarchive.org/2005/11/filmography-tin-pan-alley-cats.html
commentary later...

Thursday, October 15, 2009

BG Painting - Jetsons 85 Backgrounds


Believe it or not, but this look was revolutionary in 1985.

Why?
Because before those images above, 80s cartoons looked like this:

Everything was pink, purple and green - and had balloon highlights.It was the oddest color combination imaginable, yet that's just about all anyone did when I came into the business.



I can't even believe this stuff.
So when they sent me to Taipei to supervise the layouts on some new Jetsons, I took it upon myself to also take over the BG and color department.

When I first looked around the BG department, I thought it was weird to see Chinese painters painting all these sick American cartoon color combinations and I asked them to paint more like traditional Chinese and Asian colors.



And to use some neutrals like grays and browns to balance the more primary, secondary colors.
I also wanted her to use more limited palettes.
Or to use related colors rather than having every object in a room be a screaming pink or purple.
I had a bunch of fights with management trying to find somebody who would paint in a style I liked. One day they had an art show of all the Chinese artists' own work, and I found one artist (unfortunately whose name I can't remember) who had beautiful traditional Chinese paintings on display. I went to the head of the studio and asked him to put her on the show. After a fight, he agreed and I started working with her. I showed her Toot Whistle Plunk and Boom, some original Jetsons and some Disney cartoons and Italian fashion magazines and asked her to combine elements of those with her own style and these BGs are the first ones she came up with.I always liked cartoons with mood and here were some first attempts at it.



Purple kept sneaking in there but not so garishly as what I was used to seeing in the 80s.

These were radically different than the other Jetsons being made at the same time in other countries and I stirred up some trouble back in LA because of it. Wanna hear that story? I gave Bill Hanna a great excuse to yell at someone.

Next


Spumco style before Spumco.

Wednesday, October 14, 2009

Harry Lucey















APC




Why I could Never Get a Job at Disney's


There are really 2 broad Disney styles, each with a myriad of variations. The one I like is the 30s rubber hose funny animal style - even as they kept modifying it though the 40s and 50s.
These characters are just fun to look at and fun to draw, especially off-model.
I love how Goofy is what Pluto will evolve into when he becomes bipedal and get a voice box.

...

next...Disney doodles

Tuesday, October 13, 2009

Composition 15 - Jim Smith Treats


Here's a Jim layout drawn in the style of N.C. Wyeth, beautifully painted by Bill Wray.While collecting up art for the Spumco book, Jim and I came up with a lot of rare stuff.
Jim's studies for Space Madness...

Here's a character we created for a new Mighty Mouse pitch around 1994. He is the head of the crime syndicate in Catville and his name is "The Big Puss". Jim is great at drawing mass and power.

Here's a Phil layout from the first Ren and Stimpy cartoon.
Jim is an all around cartoonist who did just about every job imaginable on Ren and Stimpy and other Spumco cartoons. He came up with story ideas, drew storyboards, designed characters and backgrounds, did layouts...whew

He even did some color keys.Jim is the guy who I've collaborated with the most in the last couple decades. For my taste, he is one of the best cartoonists ever. He totally has his own unique style and isn't part of a school of styles. There aren't many artists like that, and thats what makes him so valuable to the cartoons I like to make. He has many talents no one else (including me) has and I rely on him to do all the hard stuff.

He's a master of composition and solidity. Here are some of his sketches for a George Liquor cartoon called Sunday Drive To Mars. The crummy unshaded one just above is mine.
He has a way of mixing cartoon and illustration techniques. He's the only artist I've ever seen who can make something look serious and funny at the same time. His work is like a caricature of seriousness. That made him perfect for not only Ren and Stimpy, but The Ripping Friends.
Here's some spectacular work from a secret project.


There will be lots more great Jim art in the Spumco book and a chapter all about the bastard. I hope you are as jealous as I am of his talent.

Oh, and incidentally he also did the music for the opening and closing titles of Ren and Stimpy as part of "Der Screamin' Lederhosen". The man seems to have every creative talent.
Ralph Bakshi portrait drawn by Jim, painted by Simone Dupuis.

Monday, October 12, 2009

Blog Comment Etiquette

A bunch of cartoon fans actually getting along

a few people have suggested I put up a FAQ (whatever that is) about what this blog is for and what I expect in terms of behavior from commenters.

Well honestly 99.9% of the comments are fine with me and that's how many I post. I don't care, obviously, if people want to dissent and argue - to a point - as is evident from all the arguments in the comments.

However now and then I won't post a comment if it's really extreme or slanderous, so I thought I'd explain once for posterity just what kind of comments I'm not interesting in sharing with decent and mannered folk.


1) Extreme cursing:

I would ask you not to use the F word or even other foul language. It's rarely needed and you can get your points across without it. I've slipped a couple times myself and will avoid it from now on. I don't want the kids who are learning to draw from the Preston Blair books to be banned by their God-Fearing Parents. Really, any unnecessary cursing I would avoid. You may have already lost an otherwise good comment just because of an unfortunate word.

2) Long-winded comments:

Some folks like to post 1,000 word diatribes - sometimes without even a paragraph break. It's easy to make paragraphs, but if your post goes on for an interminable amount of scrolling, it's not fair to other posters or readers of comments.Usually it turns them away from the whole list of other people's comments and kills the thread. So...my suggestion is - if you really want to write a long long post (or 4 in a row) why not write a really good teaser paragraph to draw interest to your subject, and then post a link to your own blog for the rest of your story. Then you will also get the benefit of all the other folks who want to really get into your detailed subject with you.

3) Argument for argument sake:

There are a couple of commenters who just instantly take the opposite position of anybody else's statement and then go on to argue about it for no other reason. If I say black, Debate genius says white. If I say white, then it's black. Then they argue about who knows the correct way to argue and who is an expert at reasoning until the original point of what was being argued is lost. This is of course an internet staple. Almost every thread on every site has long long circles of people yelling at each other about who is the best debater. I usually let these comments go by and just roll my eyes, but if the pest is persistent, then I get tired of it and just reject the string of redundant circular arguments. No one wants to read that stuff except the pest who posts it.

I remember pointing out that someone who doesn't draw but says he thinks visually can never prove it - without getting an artist to dig it out of his head, but that wasn't good enough, so he kept coming back with no way to prove his point except to say trust him, he sees pictures in his head.

4) Psychotic Rage:

There are obviously a handful of pure mental cases who use this and other blogs just to vent their rage against any and all comers. One has even admitted being in and out of mental hospitals and then goes on to blame the people who disagree with his screaming for picking on him just when they let him out. Yeesh. What am I supposed to do with that kind of stuff?

5) Those who can't do telling those who can that they are bums:

There is a small handful of wanna be artists who can barely scrawl a stick figure who get on and yell at top professionals present and past and pronounce with complete certainty who is good at what and who isn't - as if it's a fact. I say, if you are gonna criticize someone with actual skill and talent, you better be able to back it up with your own drawings and considerable experience in performing the same or similar tasks, so you know what you are talking about. Post a link to your own drawings and I'll make a post featuring your work and your criticism of someone who has achieved something amazing.

I'm all for arguments between skilled pros. For example, Pete Emslie and I might argue about the contrasting merits between Disney and Warner Bros. cartoons. We back up our arguments not only with our reasons, but a lot of experience doing our own work and teaching others.

It's OK to like one style over another, no matter whether you are a pro or haven't a talented bone in your body - and to freely say so. That's not the same thing as yelling with fury at respected artists with absolute certainty that masters are overrated or bums. I've seen this kind of outrageous stuff said about such giants as Rod Scribner, Grim Natwick, Ollie Johnston and many more people and I have no tolerance for that - and neither should anybody else.

6) People Who Try To Start Fights Just For Laughs

There are a couple psychos who are huge fans and collect all kinds of Spumco art who have nothing better to do than to try to revive long dead feuds between people who made some of their favorite cartoons. I have zero tolerance for that. To these people I say, take your pills, see your Dr. and go back to your hospital for treatment.

This kind of thing does nothing positive. Most of the artists they admire (and hate at the same time) are doing their best to try to make more cartoons in the style that these obsessed fans love. Trying to do good in a business that does nothing but offer obstacles in the way of making cartoons like Ren and Stimpy, Cow and Chicken, Dexter, etc.

7) Harassers and Stalkers

One has been caught by the cops so far. 2 more are being closed in on.

What this blog is for:

I've stated this a few times, but now I think I will remind people.

It's not to convince the world that there is only one kind of cartoon - my kind. I have no problem with there being room for unfunny flat cartoons, sentimental CG cartoons, retreads of Disney formula features, non-cartoony prime time cartoons and whatever other genres exist in animation.

For people who like any of those genres, there are tons of blogs and sites where you can go and talk or argue about who's the best arguer.

All I want to see happen is to have our business make at least a small place where cartoony cartoons can exist and flourish. There is no place at all right now, yet pure cartoons are what founded the whole business in the first place and made it the newest and most popular art of the 20th century.

We have been completely kicked out of the world our ancestors created. Is that fair? Is it too much to ask to have at least 10% of our business back?

Everything I have ever done in cartoons has been with that goal in mind - to make a place where cartoonists can be cartoonists and invent entertainment that can only happen in the magical creative world of cartooning.

I created characters in the 80s that completely went against everything everyone else was doing and 9 years later beat the unbeatable odds and finally sold Ren and Stimpy - then had to create a system from scratch that would allow cartoonists to do something they had never been allowed to do before and to constantly be encouraged to improve at it. I graciously invited lots of other cartoonists to jump in and take advantage of the whole setup I had put together and for awhile it changed the business and proved that regular people in the audience liked cartoony cartoons again. This led to a big boom in the TV business and for a few years cartoonists had it better than they had had it in 30 or 40 years.

But in the last few years that momentum has declined and cartoony cartoons - well drawn and acted ones have again all but vanished.

So in the meantime I have created this blog with the purpose of slowly building up an encyclopedia of cartoony techniques, clips of great cartoons, samples of great comic artists and illustrators. All for free with the hope that a few other like minded cartoonists and fans who miss the old qualities could learn about them on their own with the aid of my trial and error experiences and the introduction to tons of great cartoonists they might never have heard of.

Am I biased? Sure, but not as biased as most sites. I promote a ton of different cartoon styles:

http://johnkstuff.blogspot.com/2006/09/importance-of-having-lot-of-influences.html

My theory is, this could give the industry a chance again in the future because there might be enough really good funny cartoonists who can bring back what the readers of this blog enjoy about classic cartoons.

Would I rather be making lots of cartoons and keeping my mouth shut and not stirring up controversy? Sure. But since no one has encouraged it who is in a position to, in the meantime I'll give away information about how you can do it if you ever get a chance.

Maybe I'll even be able to take advantage of it before I kick off.

CARTOON COLLEGE

http://johnkstuff.blogspot.com/2009/08/cartoon-college-for-free.html


I started the private cartoon college blog for the first few artists that have really shown interest, talent, hard work and dedication. Those artists are improving with leaps and bounds and I'm sure they'll be happy to tell you so.

So with all this boring verbal crap, I'm letting everyone know that I welcome comments and even dissent and argument; I don't believe in "censorship" - but rudeness, psychosis, 3rd hand gossip and attacks intended to tear down honest attempts at bringing back cartoons are not going to be welcomed. Obviously.

If you love old cartoons and cartoony stuff, I would expect you to support this and all the other blogs and cartoonists who actually put their money where their mouths are.


Most of you do and I thank you for it.

This is about cartoons and that's what we share an interest in. So let's stick to it. If not, maybe I'll make the whole blog by invite only.

Early Flash Jetsons

Around 2,000 Spumco was running out of work and the Cartoon Network had a website. They asked me to animate some super low budget Flash cartoons using the HB characters so we agreed to 3 or 4 just so I could keep my main crew on. I was really looking forward to doing new HB stuff because it's one of my favorite obsessions, but sold the Ripping Friends to TV and I had to jump on that too. I went to Canada to supervise the show.
One day Kevin, my producer called and said "Better take some time out and do these HB cartoons!" I didn't even have a story for this one, so I sat down with a stack of animation paper and started laying out an argument between Jane and George about Elroy's school grades.
After I had a big pile of drawings done, but no ending, I shipped them off to LA and gave them to Gabe Swarr to direct the cartoon (and another one).
These first few poses have a crude ink finish-like they were badly optimized in Streamline or Flash, so I apologize for that.
My early idea for Flash was to combine the early Hanna Barbera limited animation style with my own specific poses and acting style. I thought that would be the perfect use of Flash and the future of it. I was wrong, so I give up making predictions.
So this experiment uses very extreme poses, mixed in some calmer ones, and re-uses them all in different orders or arrangements.
What makes it different than most Flash is that there are a lot more poses to re-use. And each pose can be separated into levels (like early HB) and new expressions can be pasted onto earlier head shapes. New arms can be added to old body poses.

Gabe and Matt took my initial stack of layouts and added their own breakdowns and lots of new poses along the way.

It's a bit hard for me to tell exactly who did what; the one above looks like I did Jane and someone else did George, but who knows?





This breakdown of George above looks like maybe Matt?
Looks like something out of a horror film. Ever witness family or office fights like this? This fight is inspired by fights I witnessed in the studio. We had one guy who had wild fits and tantrums and as I watched them, everything went into slow motion as I seared the images of every facial contortion and spit pattern into my memory.




















Right here, it obviously switches away from me. It's either Gabe or Matt drawing George below.

There's that limp finger that has become a cartoon staple ever since Ren and Stimpy. (I think I stole it from Chuck Jones, but can't remember the cartoon.)
my Jane and Matt's George?




I love the Jetsons. The original cartoon is super boring but loaded with potential. It had great character designs, voices, backgrounds and a killer concept.

I love the idea that George thinks his job is hard work, even though he just has to push a button. I love the idea of crazy futuristic gadgets doing all your everyday things for you.

The only problem was that by 1962, the HB artists and writers were getting really bland and unimaginative and they didn't take advantage of the raw material.

I remember in 1985, I used to always try to add futuristic gags into the scenes. There was a dinner scene with the whole family and I didn't draw the characters using forks and knives like the storyboard suggested. Instead, I focused on Elroy being fed by automatic utensils that came down from the ceiling to scoop food into his mouth. I even had a chewing device grab his cheeks and mash them around while he was talking to Mom and and Dad. Another device came out of the table and pushed the food down his throat. The whole time this stuff was happening, they were all carrying on some vacuous writer's conversation and acted like none of this gizmo stuff was at all weird.


Well the fun police at H and B thought it was awful weird. They said I was crazy and ordered the director to change it all to make it boring. I couldn't figure it out. Weren't these the kind of gags the show was designed for?

By the way, it takes a lot of factors to make a cartoon work. It's not as simple as the loud-mouthed internet layman seems to think. You need a lot of things to come together at the same time to make something classic.

A good and lively crew, good characters, decent budget, not too much politics in the studio, an executive that is creative-friendly. Not to be spread too thin with too few talents on too many projects, etc.

The stars don't line up like that enough and the studios and networks are totally opposed to letting it happen.


More poses to come...

Sunday, October 11, 2009

Storyboard Slug Stimpys Invention

This is how we used to do the preliminary timing for a cartoon. It was called "slugging". To slug a storyboard was to time the cartoon on the storyboard.
You can see that we used to get pretty detailed about it. Bill Hanna showed me a couple ways he used to do it, first on Tom and Jerry, and then a short-hand approach he adapted for his TV cartoons. I adapted it again for my own purposes. I timed not only from the storyboards, but from the layouts - which had many more poses. You can see above that my notes refer to pose numbers; those are the layout poses that you can't see on the SB.
These drawings are mostly by Bob Camp. He did the tighter, more confident ones and I did the scratchier quicker ones as I did the timing and added actions.
Bob is a great draftsman and cartoonist who can do pretty tight and solid constructed drawings right off the bat. I can't. When I storyboard or doodle, I just try to scrawl out the essence of the idea and save the construction and polish for when I (or someone else) does the layout.
When I timed this stuff I'd really get into the scene and wouldn't tolerate distractions. I'd turn the lights out except for a table lamp so I could really focus on all the actions and acting. I didn't ever rely on formula - because I didn't know any. Inevitably, there was always someone standing in my doorway holding some papers and watching me wriggle around in my chair, jumping up and down and making crazy faces into a mirror or the computer screen. I never did figure out why people stood in my doorway when I worked, but it all seems part of the Spumco ritual.
I always acted out the scene myself in chunks, and then I'd analyze what I was doing and how long it took. And whether the action called for a slow into a stop, or an overshoot, stagger or whatever. What I was actually doing physically was what I tried to translate into the timing, so the cartoon would feel real, instead of using a set of stock timing tricks. It didn't always work. Sometimes I would time pauses too long and that's where you get those standard pauses in Ren and Stimpy that many fans thought were on purpose, but drive me crazy.
The panels above and below (except for the first one) I just added to punch the gag that was already written. I thought a beaver wasn't enough. You had to follow a beaver with a duck in cartoon logic. The Nickelodeon executives disagreed, They sent a note: "Lose the duck. Make it a woodpecker" or something, but I stuck to my guns. I know when a duck is called for, so I just added a little tuft to the top of the duck's head and said it was a woodpecker. You can imagine how crappy the cartoon would have been if I hadn't made that important network change.
Here's some great Camp panels below and my scrawls underneath, adding actions.
After the board slug, the timing wold then go to an animation director like Bob Jaques, Doug Frankel, Tony Fucile, Greg Manwaring - all animators who would transfer the timing to exposure sheets and refine it even further - or change some things if they thought it would work better in animation.

I used to call what I (or other directors) did on the boards - "Exterior timing" and what the sheet timers (animation directors) did "Interior timing". The exterior timing set the pacing of the whole cartoon and each sequence, and the interior timing refined the individual parts of the animation. It's structure first, details last - hierarchy as always in my world. They are both important and require thoughtful, custom-made, non-formulaic approaches to make cartoons like "Stimpy's Invention". Bob Jaques did the final animation timing and gave it all he had and his animators knocked themselves out.


BTW, did you know this cartoon almost didn't get made? The execs hated it so much they told me to throw the whole thing out and draw a new cartoon over the weekend to replace it. They thought it would scare kids because it was about "mind control". I made a compromise and went through the board with the main exec and toned down a bunch of my favorite "scary" Bob Camp drawings of Ren - or just removed them entirely. But by then they had held up the cartoon for months and so it was late being finished. The whole story of and some missing drawings will be in the book. I was at Asifa yesterday and Steve scanned a bunch of Bob's funny drawings that were cut. We also found stuff from lots of other cartoons that had been cut, including a heartwarming and funny scene from Visit To Anthony that fancypants Jim Smith drew.


Next....

"PROPER BLOG COMMENT ETIQUETTE"

Saturday, October 10, 2009

Composition 13 - Harvey Eisenberg Compositions








This last one is another artist. It has no composition. Why?

These all came from Barbie again. She is a boon to cartoonkind.

coming...
and ...

Friday, October 09, 2009

The Bigloaf Variations

There are a handful of cartoon writer stereotypes that come from different backgrounds:

1) Soccer Mom
2) Groundling
3) Relative of executive
4) Comic Book Writer

Did I miss any?

Bobby Bigloaf is a nerdy kid who longs some day to become a comic book writer (and then transfer over to the more lucrative business of writing cartoons). Just about all comic book writers wish they could draw but give up after finding that God didn't grant them the gift and instead choose to tell the artists what to draw.Bobby reads comic books voraciously (like I did when I was a kid). He tries scribbling his own versions of all his favorite characters in underpants, but gives up and instead dreams of becoming the writer of underpants stories, a much simpler goal. He writes letters to the editors of all the comics and sissies up to them. When he grows up he will attain the comic book-writers' #1 visual symbol - scalp disease.Bobby is a real Momma's Boy and his mother is always worried that he will hurt himself or catch cold (especially on sunny warm days), so dresses him in protective gear every day before sending him off to the neighborhood bullies.


Slab 'N' Ernie love to beat up little nerds because that's what they are genetically disposed to do. It's all part of the childhood neighborhood ecosystem. It's God's plan. There's no point in getting mad at them for it. At least they don't listen to Horror Core.

Now to the real point of the post: Character Design Variations
When I design a character, I do it by feel. I try to make the design match the personality of the character, but I don't tie it down to the point where all the proportions are exactly measured.

DESIGNING BY ADJECTIVES APPROACH

Instead, I design a general structure that can be modified somewhat - as long as it follows the adjectives that describe him.

Bobby is fat - but a certain kind of fat. Soft fat wrapped in tight skin.
His head is overall 2 clumps of fat that aim up into a rounded point.
His cranium is smaller than his cheek area.
His nose is long and points up at an angle.
He wears thick coke-bottle lensed glasses that are held together with medicine tape.
He has freckles on his cheeks, elbows, ass and knees.
His upper lip is high up on his face, leaving a longer fat chin area.
He wears a clean white shirt with a pocket protecter, shorts and rubber galoshes over his shoes.

OK - that's about as far as words can describe him. You wouldn't then try to describe each structural element of him in terms of exact angles and ratios relative to each other:

His nose is on a 45% angle and is as tall as his eyebrows, etc...
Model sheets at most studios (at least today) try to tie down the exact proportions of a character, even while having a generic design that has been used many times before. You are not allowed to vary the proportions or design and that is called "on-model". All the fun police at studios and networks love their on-model rule.


I don't believe in "on-model" to that extent. I believe in "generalized on-model". Does the drawing of the character match his general description? Do the expressions and poses match his personality? Can it be constantly varied and improved upon?This allows the artists a lot more freedom than they would get at a regular studio - but I am a stickler that it still looks like the character - you don't change the essence of the character, but you have some leeway to draw in your own style according to your moods.

Under these conditions...


As long as the specific drawings you do are:

1) good
2) funny
3) the expressions and pose are specific to the gag, the character, the emotion and the story
4) Look like the character to the audience and me - not to the production manager

This theory of mine caused me to have some really heated arguments with my favorite character designer Ed Benedict. Bill Hanna though obviously agreed with my approach because he used to call up his freelance animators and describe Ranger Smith to them over the phone.

Thursday, October 08, 2009

Disney Eye Candy - Alice and Friends


I'm not crazy about Disney storytelling, but I have to admit that their cartoons sure are fun to look at - and even when they are translated into books by great artists like Mel Crawford and Al Dempster.
Mel Crawford has a more distinct style and his details are clearer, but on the other hand, Dempster's compositions and moods are wonderful.


Is there really any doubt that this wasn't a Golden Age for kids? What do we have today that can come even close to the fun and beauty of these?


2 approaches to holes.

Trees: I think Mel Crawford is a tree master. Dempster is below.

These illustrations are from Barbie's collection, which she is kind enough to share with the world.

Barbie's Disney Books


This is a beautifully drawn comic from a tiny digest I bought at a swap meet, so I'm sorry the definition isn't sharper.
I have no idea who this artist is, but he sure as hell can draw!



Look at the perspective and positioning of Alice's cankles. Fantastic drawing!



There is a modern painter of eye candy too:


Wednesday, October 07, 2009

Quick Draw Fun

http://comicrazys.com/2009/09/23/quick-draw-mcgraw-animation-art-cartoon-network-archives/qdmms_00pg_008qdmms_00pg_002qdmopm_14pg_004qdmsb_12pg_001

Capitalism's Aims


Here's what I thought Capitalism was about:

To Give You an Incentive To Succeed at Something


That sounds good on the surface. If making money was an incentive for us to become an astronaut, or a biologist, or a great cartoonist or any kind of productive person who brings new and better things into the world that would be great.

Instead the incentives are to become CEOS or managers at companies that are already big because of some long dead entrepreneurs who did believe in something and our goals are just to find a level of management in which to hide and take advantage of the system - and keep it going even to the point of where it actually loses money.


To Compete - but What kind of competition?Competition 50 years ago compared to competition today.



If financial rewards encouraged us to make better products than our competitors, then products would get better and better all the time, wouldn't they? Is it happening?

I don't think so. All our products are being made in other countries and the only work left here is for managers - people who don't know anything about how the products are made, have no inherent love for the product and would take a job in management at any kind of company at all. How can you manage the making of a product you know nothing about? It happens all the time and is considered today, an all-American wonderful goal.

Managers aren't there to make money for the company, have no natural loyalty to anything except their own personal success-their credits, their bonuses. They jump from company to company like aphids, gobble up as many leaves as they can and then when they kill the veins, hop off to another company at a higher level and destroy even more.

There is no competition anymore.

It used to be that people did compete. Hearst competed with Pulitzer to sell more newspapers by making the best comics and content - by pleasing people. The idea was if your product was better, more fun, easier to use or was cheaper and just as good, then you would be rewarded and live in a mansion and be served by beautiful slave girls. That sounds completely logical to me. That's a system designed around natural human instincts and fosters something that was once known as progress. It gave us telephones, medicine, cars, movies, cartoons, Jazz music, Rock 'N' Roll, comfortable lives for millions (for the first time in history). This system encourages the individual to do great things - which is a democratic ideal.

Musicians competed by making more and more appealing music. Scientists competed by making newer and more astonishing discoveries.

Now the way companies compete is not through free enterprise as the system still pretends, -not by making better and better products, but by squashing any competition from people who actually can make things. Don't let them into the system. Then our products can be crap and the public will have to buy them anyway - because there IS no competition. Replace quality with marketing. Very few people are talented enough to make quality and progress, but anyone can be a marketing executive.

Should Capitalists Have To Obey Laws?

We ordinary people have all kinds of laws we have to obey. We can't just go out and kill someone who likes the girl we want. We can't steal someone else's food or bigger TV. We can't cross the street on a red light or make up our own rules. Otherwise there would be chaos and a fast decline in our safety and quality of life.

So shouldn't capitalists also have laws? They shouldn't be able to cheat the competition and the public should they? But they do. Should people who had absolutely nothing to do with the creation of something be allowed to extend its copyright for decades and profit from it - while destroying it?A completely free market means there are no rules. The people who believe in this assume that it breeds competition, but instead it breeds individual advancement at the expense of the company, the product and the talented and skilled artisans who want to actually make good things.

It leads to decay of the products, the companies, the public and the country - as we have finally witnessed. I have seen this coming for 30 years and was amazed it took so long for things to fall. What held up these huge monster inefficient companies for so long?

One simple regulation that could help (and did once) - Distributors Can't Own Products Or Manufacturing Plants

I'm no expert on rules in general or politics and legislation but some things just seem totally obvious - espcially when they affect the business I'm in.

For example, if I owned Ren and Stimpy, cartoons would be way in advance today than they are.
Why? Because unlike networks who can't tell good from bad, who spend tons of money on waste instead of on the product, I like cartoons and always want to try new things and make each one a little better when I can. Look at the difference between the first few Ren and Stimpy cartoons, and then how they looked just a year later.
They improved just because a bunch of cartoonists finally got a chance to practice and experiment - which hadn't been done in mainstream animation in 30 years. I compete with myself out of sheer boredom and to try to beat out other cartoonists and get the biggest audience. I like people to laugh at what I do. I hire artists who are better than me and lean on them to be more creative all the time. I would constantly feed part of my reward back into the company and make better and better products - until I got too old and boring and some young genius (who probably would have learned at my studio) would come along and make something fresh and better quality. These are all natural good tendencies for my profession (and the country) that our system is designed to squash.

It used to be that a distributor couldn't own a product. For the reason that it could then make its own products and squeeze out other smaller competitors who might be able to make a better product, faster and cheaper.

If we had that regulation, then the networks and movie distributors would be encouraged to hire the most talented creators so that what they distribute would make more money than the other distributors.
the wackiest place on earth - gosh we have so much zany fun here

When a network can own its own studio - like when Nickelodeon built one out of mine and used all the foundation (and money) that I generated and built up through my own natural impulses and urge to compete in a free market, they were then able to make their own cartoons in house and kill off any individuals who could make something better, faster and cheaper. They spent the money on hiring tons of executives, getting a big fancy place and painting it all up in primary colors to make it look like a wacky cartoon studio - and then didn't make a hit for 10 years. Not till Sponge Bob - which snuck by under their noses, and is a primitive imitation of the show that started the whole thing in the first place - and it's stagnant. It barely changes over the years.

Now you could take Genndy or Craig or any number of successful creators and say the same thing. What if they owned their own characters? Where would we be now? A lot further along, I'd say.

In this kind of system, the company has no incentive to hire the best people. Because the best people will believe in something and there are very few of them. But there are tons of people who are happy to take money under any kind of impractical system and these people will do anything to get ahead within a company - even at the expense of the success of the company's product and financial success.


How many huge multi-corporate giants are in debt? Check it out. What happened when AOL bought Warner Bros?

I have lots more theories on this subject, but this is too much to digest without getting an ill stomach, so I'll get on it again later...

Capitalism's great advancements and progress in 50 years.

Comments From Michael

These comments were very long and too intellectual for me to get through, but maybe some others would like to respond to them.

Here they are:




I would like to make a suggestion to folks who like to write multiple really long posts. Why not just post your first paragraph as a teaser, and then a link to your own blog with the rest of your comments for those who would like to read the whole thing?

Long comments tend to turn people away from reading other people's more succinct comments.



Thanks!


John


More arguing:

Blogger I.D.R.C. said...

That comment goes against everything you would find in an economic or political science class.

I'm not at all surprised about that, and more's the pity. It's getting worse.Take a good look at who controls textbooks. They all come from a review board in Texas.

Democracy doesn't trump capitalism in my mind-- it trumps capitalism, period.


From dictionary.com:

Democracy:

1. government by the people; a form of government in which the supreme power is vested in the people and exercised directly by them or by their elected agents under a free electoral system.

2. a state having such a form of government: The United States and Canada are democracies.

3. a state of society characterized by formal equality of rights and privileges.

4. political or social equality; democratic spirit.

5. the common people of a community as distinguished from any privileged class; the common people with respect to their political power.


Capitalism

–noun
an economic system in which investment in and ownership of the means of production, distribution, and exchange of wealth is made and maintained chiefly by private individuals or corporations, esp. as contrasted to cooperatively or state-owned means of wealth.

An economic system in which the means of production and distribution are privately or corporately owned and development is proportionate to the accumulation and reinvestment of profits gained in a free market.

Origin: 1850–55

Which one sounds like a place to live?

Take note of the origin; I believe it was first used by Marx as a perjorative. No surprise it surfaces around the time of the robber barons.

The word Capitalism did not exist during the American Revolution. It was not a goal of the founders, but Democracy is. They could not have relied on its definition in creating the country, nor is the definition we have the result of their aims and labors.

So why should we use it? What does it clarify, if you are not a banker or industrialist?

The founders were not crazy about bankers or industrialists, as both tend to take more and more control from the people. They saw them as necessary evils to be closely monitored, not saviors to be glorified.

I would state unequivocally that whenever and wherever capitalism rubs up against Democracy, that capitalism must lose.

12:29 PM

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Blogger Mellanumi said...

IDRC,

Okay, your altruism has made you incredibly naive. The founding fathers wanted private ownership,and the right to pursue private financial ownership, which are tenets, ta-da, of Capitalism. You are arguing for the denotative concepts of both democracy and capitalism without understanding the context and the connotation of both AT THE TIME in which they were used by the founding fathers. So yes, the founding fathers were very much concerned by private ownership, which is why they reacted against, you guessed it, TAXES -- which could be monetary and in the form of goods like potatoes or tobacco -- and who harvested the goods and tobacco? You guessed it again. THE PEOPLE! And in Greek, the word "demos" means people. You cannot project your idealistic view of a Democratic-Republic onto the past conception of the phrase's meaning. The founding fathers were very much acquainted with classics and philology and philosophy, so they were very understanding of what a democracy was and what the economic basis of democracy was. And they understand both the Greek form of democracy and the Roman adaptation of it. I like living in a Capitalist society -- I like overachievers who create a company in which my skills might flourish and pay my mortgage; I like people who have fire in them to achieve. Without Capitalism (and ta-da Capitalism even exists in communist societies or else there would be no international trade), we would have no internet, no industrial revolution, no farms, no produce, nothing. Socialism is the artificial product of a governmental system to provide for those who can't harvest with their own hands. So yes, I want to live in a Capitalist society, because capitalism implies private ownership and rewards for your own hard work and diligence. Does that mean people won't take advantage of the system? NO. Indeed there are leeches out there and parasites, but that doesn't mean the system is flawed. If you really think any form of democracy can exist without Capitalism, point out one successful governmental structure that has done so. Every socialist country was hypocritically capitalist at some point, and still is if they have international trade. You really don't have the benefits of a classical education. You should read Livy's the "Rise of Rome" in latine, books 1-5 for a clear understanding of democracy. AND you should read Alexis De Toqueville's "Democracy in America." Capitalism is rule by the people; democracy is rule by the people. You seem to think the collective trumps the will of the invidual -- hello! Have you heard of the freedom of speech!!! That is the right of the indivual. So championing democracy as an antidote to Capitalism is misguided. And don't quote Marx to me because there is not one truly Marxist regime. There are five stages to Utopia and the final stage before Utopia is the point at which the leaders of a socialist regime divest themselves of the private property and return it all back to the farmers and divest themselves of power. Has Castro done that? Has China done that? The Marxist is fundamentally flawed because those who achieve revolution can never step down from their throne. And Marx was opposed to any form of power whatsoever. So yes, give me Capitalism or give me death!

7:58 PM

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Blogger Mellanumi said...

"After having thus successively taken each member of the community in its powerful grasp and fashioned him at will, the supreme power then extends its arm over the whole community. It covers the surface of society with a network of small, complicated rules, minute and uniform, through which the most original minds and the most energetic characters cannot penetrate, to rise above the crowd. The will of man is not shattered, but softened, bent, and guided; men seldom forced by it to act, but they are constantly restrained from acting. Such a power does not destroy, but it prevents existence; it does not tyrannize, but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to nothing better than a flock of timid and industrious animals, of which the government is the shepherd."


-- Alexis de Tocqueville (1805-1859) French historian
Source: Democracy in America, Vol. II (London: Longmans, Green, and Co., 1899), Chap. 6 (HT Liberty Quotes)

8:02 PM

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Blogger Brian Goss said...

IDRC c&pd Democracy:

1. government by the people; a form of government in which the supreme power is vested in the people and exercised directly by them or by their elected agents under a free electoral system.


Then by definition the US is NOT a Democracy, IDRC. Because: We have many people in gov't that weren't freely elected by We the People; We have laws jammed down our throats that we aren't allowed to vote on or have any say about.

The people speak but the people we elected don't listen. That's NOT a Democracy.


Tuesday, October 06, 2009

Ripples thanks to Shane

Does anyone think Shane Glines is "old School"?

http://www.brandstudiopress.com/store/product_info.php?products_id=95

A term I keep hearing in defense of modern primitive cartoons is that old or well drawn, well thought out cartoons are just "old-school" which I imagine is what we used to call "square." So skill is square according to folks who wish they could draw better, can't (or can but don't want to admit it), but instead have chosen to just jump on the flatwagon.

Here's what Shane said about my last post about George Clark:

"Hi John, Clark was fantastic, and I agree that he was probably and influence on Owen. I have a bunch of George Clark on Cartoon Retro- here are some better scans to use for your article:"








Ed Benedict, Kimball and Oreb could do very graphic, angular designs but they were still solid forms drawn with perspective. Shapes had a top, front, sides, and bottom. That Snooper and Blabber drawing posted a few days ago blew my mind- such a sophisticated arrangement of cool shapes- angular and graphic but all fitting around solid forms. It's my favorite cartoon style, and I can't even imagine being able to draw something so complex. Clearly if you try to draw that style without understanding solid drawing and perspective you end up with this current style - characters run over by a steamroller. -Shane.http://cartoonretro.blogspot.com/

Here's some "new-school" cartoon art that I think has all the attributes I like about "old-school" cartoon art.

http://kristens-sketchblog.blogspot.com/

Kristen may draw in a slightly angular style, but it's based on a keen observational capacity and really strong drawing skills. I can guess some of her influences, but her style is unique, it's not just the modern simplistic flat TV style that so many copy.
It's also funny which along with good drawing must be considered "old-school" since I don't see any funny looking cartoons anywhere in the mass media - not on TV, comic strips, comic books or even animated movies. The number one ingredient of what a cartoon is is non-existent today except for on a handful of blogs created by the last living actual cartoonists. Are cartoons going to be considered a 20th century anomaly soon, since they have disappeared from the mainstream?