Monday, October 16, 2006

The Death Of Form

1960


1980-now

What's the difference between the world before 1970 and the world after?

Simon the Chipmunk will demonstrate:
Before hippies destroyed the western world in the late 60s there was a concept called "form". Form is structure. It is a skeleton which has an central idea and existence and it holds together various details which add up to a specific instance of the form.
Here is a toy of Simon the chipmunk from the 1960s cartoon series. It is a well made toy. It has a solid recognizable form and the details are fairly cute and tasteful. It is a nice happy thing to give a kid (or a grown up nerd like me). Whoever made the toy liked kids and was kind to them by making something cute and fun. The sculptor did what was once obvious to people-make things well and make them with a purpose in mind-in this case-make a cute toy because kids like cute toys. Logic and common sense-foreign concepts today.
Here's a version of supposedly the same character from the 1980s. What's the difference? No form. No taste. Ugly, sloppy and wrinkly. Whoever makes modern toys for kids doesn't understand the concept of toys and cartoon characters. They are supposed to be made to make kids happy. That means cute and appealing and with a distinct shape and form. In order to be appealing, you have to have form and design. It doesn't seem to exist anymore.
The bastards that make shit like this must hate kids. Either that or they are just plain retarded.
I really feel sorry for kids today, kids and girls actually. There is nothing cute or visually appealing anymore. Have you seen how ugly and bland Teddy Bears are now? Unbelieveable. There is a commercial on TV today that is actually kind of clever, it's about sending Teddy Bears to girls you wanna hook up with. The girls get the bear in the mail and then want to mate with you. It's a good and logical concept, but it doesn't work because the actual teddy bears are hideous. There's nothing remotely cute about them. They look exactly like the cheapo ones you see at the check stands. Girls and kids (and cartoon nerds) need cute stuff! There's a huge market just waiting for somebody to exploit and no one is doing it. Not since Powerpuff Girls.

Compare Dreampets from the 1960s to Beanie Babies of the 90s. Two very similar types of toys, except the Dreampets are well designed and have solid forms and Beanie Babies are limp lumpy blobs.

http://inspiration-grab-bag.blogspot.com/2006/03/dream-pets-updated-wsketches.html





Look at these amazing wrinkles and lumpy seams. How in Hell does stuff like this get approved by the cartoon companies, the toy companies and the toy stores?

Alvin in 1960. Cute with form.
Alvin in 1990. A vague limp shapeless wiggly blob.
Hey, most people like babies, right? We think they are cute and cuddly. It's a good thing corporations aren't in charge of baby design. Imagine if babies didn't have skeletons or even cartilage? If the people in charge of modern culture had their way, babies would be pink bags of skin filled with eyeballs, gums and poo.

Look at these interesting and fun specific designs of similar forms from the 1960s. So when did everything fall apart?In the 1970s form began to be considered uncool. It represented the rigid establishment. So everything started to become vague and mushy. These toys are just one example of the horrible thing that has happened in all walks of modern (post 1970) life. Nothing has form anymore. Music is rambling non melodic nonsense. Jorge's pants aren't the same shape as his legs. Movies and TV are vague, dark and shot with wobbly cameras. Form has since been replaced by meanness, ugliness and "attitude".

This Fred is an early example of slipping standards in toy manufacturing. Compared to the toys of just 5 years earlier, this seems to have less form, structure and appeal, yet compared to today, it looks brilliant.


I think it's time to return to form and planning instead of this random ugliness that pervades modern western life now.

The sad part is, no one even knows what form is anymore. They sure as hell don't teach it in schools. Makes me wonder what school is for if everyone is just allowed to be random and vague.

All this of course applies to drawing cartoons. If you wanna be good at it, you need to learn construction, which is the form of characters. If you draw that flat stuff you will never have any control over what you do and everything you do will be accidental. Modern flat is nothing but avoiding the problem of learning to draw. Understanding and practicing form will open whole new worlds to you and give you much wider choices in your art.

Believe it or not, the 1950s UPA style cartoons do have form, unlike today's flat stuff. I will explain and show you the difference in a later post.

Tuesday, October 10, 2006

Jack Black and the cartoon I made for Tenacious D

http://www.mtv.com/movies/news/articles/1539847/story.jhtml

Here's one we didn't make yet but want to:

Friday, October 06, 2006

Maxwell's Plum between 9-10 pm Saturday night

animators come and shoot the shit

we might go to Dooley's after

but we'll show up at Maxwell's between 9 and 10 and stay for awhile

http://www.myspace.com/jkricfalusi

Thursday, October 05, 2006

Composition 11 -The Eager Beaver (1946) - functional & beautiful layouts

Chuck Jones staging-using the backgrounds and characters as a composition.

Here's a cool concept: Designing your BG layouts and character poses so that they compose artistically together.

Chuck Jones always thought about how his cartoons would look as graphics-even at an early stage of his career.

He worked closely with his layout artists-John McGrew and Robert Gribbroek in the 1940s to design each scene so that it would look good and read clearly in almost every pose.

Most cartoon directors staged their cartoons functionally-so that there was negative space in the background designs that would allow room for the characters to perform their actions in the clear-so you could see what they were doing, without a lot of clutter crossing through the silhouettes of the characters.

Jones took this functional concept and made it an art in itself.


THE EAGER BEAVER (1946)


THE EAGER BEAVER (1946) credits



Framing: The tree on the right and the smaller tree on the left of the beaver serve functionally as a frame around the character. Behind the character there is no detail to get in the way of the beaver's action.
Now, artistically-the contrasts in the design of the BG and pose are crafted very cleverly.

There are 2 trees.

One is big and tall

The other is small and short-contrast in sizes.

Nothing is in the middle-many cartoons today stage everything symmetrically-the left side of the composition mirrors the right.

The left side of the composition is mostly empty-the right side is filled with trees and a hill-this side is not going to interfere with the action so it can be filled to balance the open space on the left.

The trees are all slightly different angles-contrasts in angles.

Negative shapes-negative shapes are the spaces between the objects-these spaces, when used correctly, help make the positive shapes "read" clearly.

The 2 framing trees create a clear shape in the negative shape-a big "U" shape.

There are large negative shapes to frame the character. There are small negative shapes in the character's pose to help the line of action of his pose read. Contrast in negative shapes.

His line of action opposes the angle of the tree on the right which makes the composition dynamic.








Here's just a still background. It looks simple. It doesn't have a lot of detail or arbitrary clutter to impress your Dad or Jeffrey.



The complexity is in the thought behind the picture-in the choice of shapes and the placement of them.

Nothing is in the middle.

The main tree is in the foreground on the right.

The shdow of it falls on a diagonal and points to the tree behind it.

The skinny trees in the negative space between them are composed towards the right of the negative shape.

All this careful artistic asymmetry makes the designs seem natural and organic, not stiff, cluttered and accidental like many cartoons today.



Here the tree on the left acts as the frame around the beaver's pose. The negative shape between the trees will help his axe swing read clearly.

The skinny trees are not evenly spaced and all follow organic curves moving up, rather than straight lines.





Here is an example of what today would be misinterpreted as "No perspective". We are looking up at this shed, yet the lines all converge down rather than up and away from us as they would in reality.



Today's wacky layout artists think this means there are no rules in cartoons and they draw no perspective at all and the lines don't converge anywhere. Windows don't fit on buildings. Every building twists and turns in a different angle. This is sometimes referred to as "wonky" design. It started in Ralph Bakshi's Mighty Mouse, was copied by Beetlejuice (the Nelvana cartoon), Tiny Toons and A pup Named Scooby Doo and now is everywehere used as an excuse to not have to design anything with control or purpose or visual appeal.

This shed's backwards perspective is consistent with its bending of one rule-every edge doesn't follow its own way, so the shed holds together as a solid, yet cartoony form.

I find all these layouts to be elegantly handsome. Jim Smith is an expert at this kind of controlled design and composition.When we did Ripping Friends, Jim would deisgn and draw many great compositions-we sent them to service studios up north who immediately redrew them all and undid all the design, filled them with ugly clutter, placed everything in the middle and took out all the contrasts. I later discovered that that was the Canadian layout style that it is actually taught at the schools up here.

Shocking!

Nick Cross was the first Canadian I've met to break from the clutter style and he quicky became a top designer and layout artist once I informed him that is was OK to use artistic principles in cartoons.

These great Chuck Jones cartoons inspired other animators and designers who later founded UPA and used some of these principles and got rid of the clutter of the entertainment part of cartoons.












Tuesday, October 03, 2006

Sunday, October 01, 2006

Halifax and John K. shows Classic Cartoony Cartoons






7 PM -10 Thursday Oct 5

At King's College
6350 Coburg Rd.
Halifax

See a whole pile of cartoons made by cartoonists back when cartoonists were allowed to make whatever they wanted without idiot executive interference!










I hope a lot of you local animators will come see this rare and funny stuff! We'll hang out after.

All "real cartoons" fans are welcome!

sponsored by Copernicus Studios-the folks who are animating all my latest crap-including the Weird Al video and Tenacious D! See previews!







WHAT IS A CARTOON?

WHEN CARTOONS WERE CARTOONY - LIVE EVENT IN SHERMAN OAKS

John