Kirby Wrinkles

Some Disney Book Wrinkles

Ashanti sent me these examples of Disney book wrinkles. A bit more elaborate than what you would want to animate, but nice looking as illustrations.

Wrinkles Were Actually Studied In Art Schools Once

Eddie is fascinated with wrinkles. He can talk for hours about them. He makes me think about them. While we had illuminating discussion of wrinkle theory over pizza one evening, I drew this sketch of how I remembered George Wunder's wrinkle technique looked.

I'm personally interested in how wrinkles are drawn in cartoons and comics. Honestly, most people can't draw wrinkles for crap. Me, included. I learned the "cartoon skin" approach to wrinkles from classic cartoons.Bob McKimson just wraps the clothes (and fur) skin tight onto the characters.

Even Rod Scribner, who is known for liking wrinkles, just draws loose fitting cartoon skin.

See how real wrinkles look. Nothing at all like cartoons.



Here are a couple variations of loose cartoon skin.

I think it's funny that even though this Mickey toy is actually made of fabric, they went out of their way to sew it up as tight as cartoon skin. Wouldn't it be cool to dress like this in real life?







Wrinkles are extremely complicated, and there is actually a physical science of how they work, which is much too complicated for cartoonists.



Old time illustrators like Rockwell, were wrinkle masters.

Wrinkles at one time were studied at art school. It was considered a serious part of art fundamentals. Art schools in general must have been much more serious about actually teaching you things at one time.

Eddie's theory is that art schools should be run like fascism. When I see the results of this kind of teaching 80-100 years ago and more, I tend to agree.



Comic strip wrinkles.

Milton Caniff loved wrinkles and he developed a style of drawing them that was widely copied by other comic strip and book artists. These wrinkles are more realistic ha cartoon wrinkles, but I suspect that they were copied superficially from illustrators like Rockwell.
Comic artists and cartoonists tend to be self taught. These old time great ones had much higher standards of art to imitate that we do though and so their superficiality is still much more skilled than our generations'. That's because we are 20 steps removed from the real thing and they were only 1 or 2.


I always loved Jack Kirby's wrinkles. I don't know if they are strictly sensible, or just stylized from copying his own heroes' work.


Kirby is especially rebellious, because he took a whole comic genre that can only be convincing with cartoon skin and then he went and sagged and wrinkled it up.

Superheroes wear cartoon skin underwear to show off their muscles. When a real live person wears a superhero suit, it is much less impressive and points to how wacky the whole idea of superheroes is. That didn't stop Kirby from creating the first superheroes that wore realistic saggy, lumpy underwear.

Cartoon Skin VS Lumpypants

Eddie is fascinated by wrinkles, by real ones and he tells me theories about them all the time. This got me to thinking about how wrinkles are treated in cartoons.

CARTOONSKIN

Real wrinkles are really different than cartoon wrinkles.
Ever wonder why clothes fit so tight on old cartoon characters? Why the wrinkles don't look anything like real wrinkles?

Well it's for a logical practical purpose. It's much easier to move solid non-ambiguous forms through space to create smooth animation. Realistic wrinkles are way too elaborate and complicated to be able to control while animating. They are hard enough to draw as single images, let alone move. Anytime anyone tries it, the characters just seem to melt all over the screen. They have no form.
That's why wrinkles are kept to a minimum in old cartoons, and why they are generally very tightly wrapped around the forms of the characters. It makes an interesting surface look. It's called "cartoon skin".

The wrinkle physics of cartoon skin are applied to all surfaces of classic cartoons: flesh, fur, clothing.

Even Rod Scribner who loves wrinkles and draws lots of them, still doesn't draw them remotely realistic. He just does looser floppier cartoon skin and creates a very funny effect.

ENTER THE AGE OF LUMPYPANTS

When I got started in the business they had abandoned cartoonskin in favor of a new form of equally unrealistic fabric surface - "Lumpypants".

This design approach is meant to be more sophisticated and serious than classic cartoon surfaces but it is doubly ironic:

1) It doesn't remotely look anything like the way wrinkles really look.
2) It's impossible to animate and makes the characters morph and melt all over the screen.

So in effect, it's both ugly and impractical at the same time, which seems to be the 2 general goals of animation ever since the late 60s.

Ugly and impractical equals "quality" in the minds of people who don't like cartoons, because it is so obviously not cartoony or fun.

Classic Disney used cartoonskin.

Disney - when it really was a "quality" animation studio used cartoonskin, even in its more elaborate high-minded features.

It was depressing drawing designless formless blobs in Saturday Morning cartoons in the 80s, but it was even more shocking to lovers of classic cartoons when "Disney" in the late 80s brought Saturday Morning cartoon design and Lumpypants to bigscreen big-budget fully animated productions.

LUMPYPANTS hit the big screen

There was a time when there was an obvious difference between quality cartoons and Saturday morning cartoons. You could tell instantly by the look of the designs what was a quality cartoon. Once Disney changed over to the Saturday Morning look it changed forever the automatic distinction between good and amateurish and gave tasteless executives even more control over big budget animation.

In effect we have DIC design fully animated.

Along with lumpypants came Saturday Morning cartoon storylines, too much exposition and explanation, bland music, Saturday Morning Cartoon colors and just general Saturday Morning Cartoon thinking all around - except with humongous budgets that somehow are supposed to magically turn all the bad creative decisions into quality.


The transition: Little Mermaid has a body and fish ass made of cartoon skin, but her hair is made of Ghostbuster Lumpypants.




More on wrinkles in another thrilling article coming soon - comic book wrinkle theory