Boy, those old Terrytoons sure seem to be made for Dads instead of kids.
Clip 1:
Clip 2:
Tongue Action:
Clip 3:
I'm not sure who this animator is.
Clip 4:
This is Carlo, for sure.
Clip 5:
Clip 6:
Showing posts with label Carlo Vinci. Show all posts
Showing posts with label Carlo Vinci. Show all posts
Thursday, February 28, 2008
See the World - Carlo Vinci and friends
Boy, those old Terrytoons sure seem to be made for Dads instead of kids.Clip 1:
Clip 2:
Tongue Action:
Clip 3:
I'm not sure who this animator is.Clip 4:
This is Carlo, for sure.Clip 5:
Clip 6:
Saturday, December 01, 2007
Thursday, November 29, 2007
funny drawings from Flintstone - Carlo Vinci
Carlo has a really unique drawing and posing style.
There's something rude about it and I like that.
Do you feel shame shivers?
Another dead giveaway: He likes to cock their heads at jaunty angles for accents in dialogue.
Fred is a well-cultured oaf in Carlo's hands.
His poses are off-balance yet flowing at the same time.
I like the early episodes when they drew Fred's hair with blunt ends.
Carlo hardly ever has the hands doing the same thing. Usually one is up, the other down. And they alternate. moving back and forth.
He loves to flop their noses around too. It grabs Wilma's attention for sure.
Barney is a peeping Tom in all the episodes.
Carlo has very distinct scrambles and zip outs.
Note the DVNR on the toes and the hair.
Fred's missing his equipment.
Carlo Vinci has heart
Carlo's style is really easy to see when you contrast it to Ken Muse, who doesn't add much to the layout poses. Ken Muse:
I can recognize Muse's style by how even and straight up and down everything is.
Compare to Carlo:
Carlo likes to use a zig-zag line of action in his poses, like Fred above. Awkward-elegance. I don't know any other animator who does that.
He also does the best nose-molestation. If you wanna see that, I can put some up tomorrow.
There's something rude about it and I like that.
Do you feel shame shivers?
CARLO VINCI
Carlo Vinci was a dancer and a man's man at the same time. His poses have an awkward gracefulness about them. Look for lots of bent wrists.
Carlo Vinci was a dancer and a man's man at the same time. His poses have an awkward gracefulness about them. Look for lots of bent wrists.
Another dead giveaway: He likes to cock their heads at jaunty angles for accents in dialogue.
His anticipations are always recognizable. They are funny and add life and character to the cartoons. It's as if they are performers who know they are up on stage in front of you and mean to let you know they are putting on a show.
Fred is a well-cultured oaf in Carlo's hands.
His poses are off-balance yet flowing at the same time.
I like the early episodes when they drew Fred's hair with blunt ends.
Carlo hardly ever has the hands doing the same thing. Usually one is up, the other down. And they alternate. moving back and forth.
He loves to flop their noses around too. It grabs Wilma's attention for sure.
Barney is a peeping Tom in all the episodes.
Carlo has very distinct scrambles and zip outs.
Note the DVNR on the toes and the hair.
Fred Dies
Fred's missing his equipment.
Carlo Vinci has heart
Carlo's style is really easy to see when you contrast it to Ken Muse, who doesn't add much to the layout poses. Ken Muse:
I can recognize Muse's style by how even and straight up and down everything is.
Compare to Carlo:
Carlo likes to use a zig-zag line of action in his poses, like Fred above. Awkward-elegance. I don't know any other animator who does that.He also does the best nose-molestation. If you wanna see that, I can put some up tomorrow.
Tuesday, April 10, 2007
Carlo Vinci Babe Stimulates an Ass
This is some pretty serious heavy petting. I bet you are jealous!
"Irish Sweepstakes"(1934), Terrytoons
Clip:
Here's a little music video Hendry Porch put together to help you learn how to tell Carlo's style.
http://www.animationarchive.org/pics/flint3carlovinci.mov
Clip:
Here's a little music video Hendry Porch put together to help you learn how to tell Carlo's style.
http://www.animationarchive.org/pics/flint3carlovinci.mov
Thursday, March 15, 2007
My Lady's Garden - Carlo Vinci - beat up the pervert
Here's a wonderful kiddie picture with a common cartoon theme.
Title:
"My Lady's Garden"(1934), Terrytoons
Alternate Title:
It's amazing how many early cartoons had would-be rapists in them. Spiders are almost always rapists and they don't even want their own kind. They like mere six legged chicks.
Clip 1:
The funny part about all these old cartoons is that the little guy is always able to beat the crap out of the big hairy brute. They never even bother to explain it. Like Puddy the fly was bitten by a radioactive Ultimate Fighter and then gained super strength or something. Nope.
Merely because the little guy is good, that's enough to beat up a huge bastard. Today, the executives would make you explain why the little guy can vanquish the big mean monster. "Kids won't understand it unless it's logical." or some kinda poppycock like that. Maybe because executives are bad and ugly and they have vanquished the good and kindly cartoonists. For now.
Clip 2:
In the 30s you didn't need an excuse to be entertaining. You just did it and no one ever questioned it.
Carlo Vinci must have animated a hundred of these scenes where the beautiful girl's chastity was threatened but ultimately was preserved for another day.
If you are interested in seeing more perverted cartoons, write to world renowned animation archaeologist Jerry Beck at CartoonBrew.
http://www.cartoonresearch.com/garagesale.html
Title:
Alternate Title:
It's amazing how many early cartoons had would-be rapists in them. Spiders are almost always rapists and they don't even want their own kind. They like mere six legged chicks.
Clip 1:
The funny part about all these old cartoons is that the little guy is always able to beat the crap out of the big hairy brute. They never even bother to explain it. Like Puddy the fly was bitten by a radioactive Ultimate Fighter and then gained super strength or something. Nope.
Merely because the little guy is good, that's enough to beat up a huge bastard. Today, the executives would make you explain why the little guy can vanquish the big mean monster. "Kids won't understand it unless it's logical." or some kinda poppycock like that. Maybe because executives are bad and ugly and they have vanquished the good and kindly cartoonists. For now.
Clip 2:
In the 30s you didn't need an excuse to be entertaining. You just did it and no one ever questioned it.
Carlo Vinci must have animated a hundred of these scenes where the beautiful girl's chastity was threatened but ultimately was preserved for another day.
If you are interested in seeing more perverted cartoons, write to world renowned animation archaeologist Jerry Beck at CartoonBrew.
http://www.cartoonresearch.com/garagesale.html
Thursday, March 08, 2007
Slow But Sure - Carlo Vinci
Wow, before the censorship code happened in the mid 1930s cartoons were full of erotica!
Terrytoons had some hilarious titles:
Busted Blossoms
In My Lady's Garden
and this baby...
"Slow But Sure" (1934), Terrytoons This is some very early Carlo Vinci animation. Carlo is one of the most unique animation stylists in history. He moved things like no one else. His specialties were sexy girls and dance animation.
clip 1:
Carlo was way ahead of his time. His animation is much more advanced than his contemporaries. He was doing squash and stretch, overlapping action, follow through and animation techniques before they were officially invented at Disney's.
In these same cartoons, there are animators moving almost stick figure like characters, while Carlo's animation of the same characters is very much alive.
In "Slow But Sure", the hare races the tortoise, but stops midway for some action from a sexy bunny who eagerly complies.
clip 2:
That's some pretty detailed anatomy for a kiddie cartoon!
I'm gonna have pizza with Carlo's granson John Vinci tomorrow, so I'll try to get some good stories about his talented Grandpa for you...
clip 3:
Carlo was a dancer himself and you can certainly tell from his animation that he knew how to shake booty.
CLICK HERE TO WATCH THESE THREE CLIPS ALL TOGETHER!
The scene after this sure looks suspicious, like they did something more thrilling than skating and dancing!
Terrytoons and a lot of lost cartoons are full of funanimation styles that have disappeared, but thanks to Jerry Beck and Mark Kausler and a few other folks, the cartoons are being rediscovered. I hope we can revive some of the techniques that have been lost to time. Wait'll you see some great Bill Tytla animation from Terrytoons. I like it even more than his Disney animation!
If you are interested in getting some of these long lost cartoons, write to world renowned animation archaeologist Jerry Beck at CartoonBrew.
Marc Duckwalk Deckter procured these great images and clips for you, so give him a big thank you!
Terrytoons had some hilarious titles:
Busted Blossoms
In My Lady's Garden
and this baby...
clip 1:
Carlo was way ahead of his time. His animation is much more advanced than his contemporaries. He was doing squash and stretch, overlapping action, follow through and animation techniques before they were officially invented at Disney's.
In these same cartoons, there are animators moving almost stick figure like characters, while Carlo's animation of the same characters is very much alive.
In "Slow But Sure", the hare races the tortoise, but stops midway for some action from a sexy bunny who eagerly complies.
clip 2:
That's some pretty detailed anatomy for a kiddie cartoon!
I'm gonna have pizza with Carlo's granson John Vinci tomorrow, so I'll try to get some good stories about his talented Grandpa for you...
clip 3:
Carlo was a dancer himself and you can certainly tell from his animation that he knew how to shake booty.
CLICK HERE TO WATCH THESE THREE CLIPS ALL TOGETHER!
The scene after this sure looks suspicious, like they did something more thrilling than skating and dancing!
Terrytoons and a lot of lost cartoons are full of funanimation styles that have disappeared, but thanks to Jerry Beck and Mark Kausler and a few other folks, the cartoons are being rediscovered. I hope we can revive some of the techniques that have been lost to time. Wait'll you see some great Bill Tytla animation from Terrytoons. I like it even more than his Disney animation!
If you are interested in getting some of these long lost cartoons, write to world renowned animation archaeologist Jerry Beck at CartoonBrew.
Marc Duckwalk Deckter procured these great images and clips for you, so give him a big thank you!
Wednesday, November 29, 2006
Art Lozzi- scooter looter-paint technique-BG painting
How about a cartoon with layouts by Ed Benedict, animation by Carlo Vinci and BG paintings by Art Lozzi? Add it up and get cartoon ice cream.
I want to start talking a bit about painting technique. Technique is different than color.So far I've talked only about color theory and nothing at all about brush technique. They are two completely separate things. You could be good at color but not so good at technique. There are a lot more artists who are good at technique but are not as good at color. I don't know why exactly. I guess you can learn technique but not taste.
Art Lozzi was excellent at both. Look at this beautiful painting below.
The color thinking on this tree BG above is very similar to the color thinking in this Frazetta painting below, yet the two styles look completely different. Why?
Because the painting techniques are different.
Here's a painting by Kristy Gordon. Similar thinking in color. Another different painting technique.The general technique that Lozzi and Monte and the early Hanna Barbera painters used was painting with sponges and friskets.
This one above is by Monte.Below is Art. Simlar techniques but different styles.
Then when they peeled the cel off the paper, there would be a textured tree in the shape of the frisket on top of the BG color.
Sometimes they would keep layering sponge textures on top of the paint and even use smaller friskets to fill shadow shapes in with.
Below you can see contrasts in techniques. There is some flat color (the sky), some sponge (the tree on the right) and some dry brush (the trees on the left).
If the painting was completely filled in with equal amounts of texture from left to right, the BG would be indistinct and hard to read. Contrasts are important in all aspects of creativity. Contrasts are punctuation. They are what tells you what to pay attention to. Stories need contrast, dialogue needs contrast, acting needs contrast, composition needs contrast, design does, animation does, timing does-everything does.
Here is a similar technique with less contrast from Disney. See how more monotonous it is compared to the better designed, better colored and contrasty styled HB BGs? Looks like wallpaper.
Without contrast or punctuation you have monotony. Controlling contrasts is very difficult and I'd say even impossible for weaker artists or actors or writers. Today's prime time cartoons are extremely monotonous because they have no punctuation or contrasts in any of the creative aspects of them. Everything just drones along at the same pace, volume and evenly spaced design. Nothing is more important than anything else. It all just lays there and expects you to weed through the morass to find what the entertaining parts are.
This BG above has all the paint techniques I've been talking about plus some pencil shading on the grass and hills and trees. Lots of contrasting textures, values and negative shapes.These HB painting techniques can be very simple...
..or more complex
Even the lines on the trees are full of contrasts. Some are close together. Some are far apart-they are not evenly spaced. Some lines are painted on, some are drawn with colored pencils, some lines are curved, some are jagged.
Even though the striking styling of this is bold and cartoony, the control of the contrasts in techniques and design and color makes it all organic and natural.... as opposed to today's mechanical computerized looks.God, those multi million dollar budgeted prime time cartoons don't even HAVE painted backgrounds. The flat characters vanish right into the flat fluorescent backgrounds. These HB cartoons were originally budgeted at $3,000 each-or $9,000 per half hour and they are infinitely more complex and skilled than what you get for 3 million.
Here's millions of dollars worth of artistic achievement.
I've asked Art if he would be willing to explain to us his step by step procedure in painting backgrounds like this. Tell him in the comments how much you would appreciate that!
Wednesday, September 13, 2006
I want you to love Carlo Vinci
FRED'S EYEBALL TAKE- CARTOON GAG
BARNEY'S FIRM GRASP- JUST PLAIN FUNNY
FRED BOWLING AND "YABBA DABBA DOO"- FUNNY ACTION
BARNEY DROPS BALL -GOOD ACTING AND ACTION
"YOOOOUUUUUU DOPE!" - ACTING CUSTOMIZED TO DIALOGUE TRACK (instead of model sheet)
BARNEY'S FIRM GRASP- JUST PLAIN FUNNY
FRED BOWLING AND "YABBA DABBA DOO"- FUNNY ACTION
BARNEY DROPS BALL -GOOD ACTING AND ACTION
"YOOOOUUUUUU DOPE!" - ACTING CUSTOMIZED TO DIALOGUE TRACK (instead of model sheet)
Monday, September 11, 2006
Krakatoa - Carlo Vinci dancing
Just to put it in context, here is some of Carlo's "full-animation" from a 40s Terrytoon. He was using his broken-wrist/collapsing joints theories way back when. The Terrytoons directors always gave him the dance scenes and you can spot his style a mile away.
Carlo moves things as if he invented animation himself and had never seen anyone else's animation. He made up all his own rules. He doesn't use simple lines of action like the Disney animators did. Instead he uses zigzagged poses that to most animators would seem awkward.
I used to notice that about his Flintstone poses when I was a kid and I loved it. I learned early that the kind of stuff I liked most didn't fit a mold. It had to be skilled, but also needed to stand out and be a little "off" - like Carlo Vinci.
Carlo Vinci is one of the most original animators in history. I will show you some of his early 30s stuff soon. It's still recognizably him but a different and cuter drawing style.
Carlo moves things as if he invented animation himself and had never seen anyone else's animation. He made up all his own rules. He doesn't use simple lines of action like the Disney animators did. Instead he uses zigzagged poses that to most animators would seem awkward.I used to notice that about his Flintstone poses when I was a kid and I loved it. I learned early that the kind of stuff I liked most didn't fit a mold. It had to be skilled, but also needed to stand out and be a little "off" - like Carlo Vinci.
Carlo Vinci is one of the most original animators in history. I will show you some of his early 30s stuff soon. It's still recognizably him but a different and cuter drawing style.
Thursday, September 07, 2006
The Flintstone Flyer - Carlo Vinci, part 1
Here's proof that the Early Flintstones have funny and unique stuff in it. I love these drawings and how Carlo combines cartooniness with realistic man-type character personalities.
FRED SNORES
FRED WALKS OVER WALL
This couldn't happen in The Honeymooners and wouldn't in The Simpsons. A cartoon sitcom can never compete on an acting level with a live sitcom, so to make up for that, you should put in some cartoon humor to balance things out. Obviously.
Wait! It's not obvious, is it? No one does it!
FRED LEAPS OUT OF HAMMOCK
Look how funny these drawings are! And completely off model!...which would make poor old Ed Benedict furious and me grunt with delight!
FRED'S BENT WRIST, ASS, BACK AND TEETH
This expression is perfect for Fred's emotion in the scene. It doesn't exist on any model sheet and wouldn't be allowed today. Carlo listened to the track and drew how he felt Fred was reacting.
In 1985 I was supervising The New and Crummier Jetsons in Taipei and I called Bob Hathcock, the producer at Hanna Barbera and asked him for casette tapes of the voice actors' recordings for the cartoons I was supposed to draw. Bob sounded confused. He cupped his hand over the receiver and I heard him talking to his junior producer, Jeff something-or-other who hated my guts. "Is that Kricfalusi on the phone again? What the Hell does he want now?"
"He wants the recordings!"
"What the f***k for?"
"How should I know? Just send them to him. No one else will take this job!"
Well it seemed obvious to me what I needed them for but to no one else at the time. I wanted to draw specific expressions for the characters that matched the inflections that the actors gave the characters in their line readings.
By the 1980s cartoons had decayed so bad that no one knew what an expression was anymore, let alone a specific custom-tailored one. They expected you to literally trace the 3 poses they provided on the model sheet. Trace them over and over and over again until you become a mass murderer.
Like they do on the prime time TV cartoons today. It makes me wonder why you would ever need more than one episode of a cartoon that always has the same drawings in it. That's why I can't watch crap today. Within 2 minutes you've seen every drawing you are ever gonna see of a modern cartoon character. ?????????????? Explain this to me!
I can't even figure out why Nickelodeon or Film Roman or these places have live artists on staff. Why not just do what South Park does? Put the models in the computer and just copy and paste them over and over again. Why torture creative artists? I think the studios like to pretend that something c
FRED SNORES
FRED WALKS OVER WALL
This couldn't happen in The Honeymooners and wouldn't in The Simpsons. A cartoon sitcom can never compete on an acting level with a live sitcom, so to make up for that, you should put in some cartoon humor to balance things out. Obviously.Wait! It's not obvious, is it? No one does it!
FRED LEAPS OUT OF HAMMOCK
Look how funny these drawings are! And completely off model!...which would make poor old Ed Benedict furious and me grunt with delight!
FRED'S BENT WRIST, ASS, BACK AND TEETH
This expression is perfect for Fred's emotion in the scene. It doesn't exist on any model sheet and wouldn't be allowed today. Carlo listened to the track and drew how he felt Fred was reacting.In 1985 I was supervising The New and Crummier Jetsons in Taipei and I called Bob Hathcock, the producer at Hanna Barbera and asked him for casette tapes of the voice actors' recordings for the cartoons I was supposed to draw. Bob sounded confused. He cupped his hand over the receiver and I heard him talking to his junior producer, Jeff something-or-other who hated my guts. "Is that Kricfalusi on the phone again? What the Hell does he want now?"
"He wants the recordings!"
"What the f***k for?"
"How should I know? Just send them to him. No one else will take this job!"
Well it seemed obvious to me what I needed them for but to no one else at the time. I wanted to draw specific expressions for the characters that matched the inflections that the actors gave the characters in their line readings.
By the 1980s cartoons had decayed so bad that no one knew what an expression was anymore, let alone a specific custom-tailored one. They expected you to literally trace the 3 poses they provided on the model sheet. Trace them over and over and over again until you become a mass murderer.
Like they do on the prime time TV cartoons today. It makes me wonder why you would ever need more than one episode of a cartoon that always has the same drawings in it. That's why I can't watch crap today. Within 2 minutes you've seen every drawing you are ever gonna see of a modern cartoon character. ?????????????? Explain this to me!
I can't even figure out why Nickelodeon or Film Roman or these places have live artists on staff. Why not just do what South Park does? Put the models in the computer and just copy and paste them over and over again. Why torture creative artists? I think the studios like to pretend that something c