ASIFA-Hollywood: The International Animated Film Society
Tuesday, February 27, 2007
Archive: Eisenberg and Barbera's Foxy Fagan
Today, we posted a vintage funny animal comic with story by Joe Barbera and art by Harvey Eisenberg...
Comics: Harvey Eisenberg's Foxy Fagan 1946
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Comics: Harvey Eisenberg's Foxy Fagan 1946
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Monday, February 26, 2007
Archive: John Kricfalusi Writes...
Our cartoon heritage is quickly disappearing from history. You don't see many classic cartoons on television anymore- certainly not black and white cartoons. The Golden Age of Cartoons, classified by historians to be generally from 1928 to 1960 is dominated in most people's minds by Walt Disney's features and the Warner Bros. cartoons, which are often seen in "restored" edited, cut and recolored versions that don't look like the films as they were created by the original artists.
There's a lot more to the story... There were many lesser-known studios that contributed to the development of cartoons as well: the Fleischers, Terrytoons, Famous Studios, and Columbia. Wonderful cartoons made by these studios and many others are almost completely impossible to see anymore. You can find a few bad prints of public domain cartoons on cheapie DVDs, but the vast library of classics has practically vanished from history and worse, from the attention of new audiences that could enjoy them and young cartoonists that could benefit from them.
Animators today have a very hard time finding the best cartoons ever made to help them learn and be proud of their craft.
The ASIFA-Hollywood Animation Archive is coming to our rescue. Stephen Worth, with the help of private collectors, is amassing a huge collection of classic cartoons and logging them by studio and chronology to make these lost films available to the public, while the owners of the cartoons are just letting them collect dust in vaults.
At the Archive, not only can you view the cartoons, you can also see a great collection of cartoon related art- art that inspired many of the animators of the past. Children's book illustrations, comic books, comic strips... it's all there. ASIFA-Hollywood is also collecting interviews and articles about cartoonists, animators and illustrators to tell the history of animation through the stories of the artists who created it.
The ASIFA-Hollywood Animation Archive is something I wish I had when I was a kid. It's an invaluable storehouse of lost techniques from an artform that developed to its highest peak during the 30s to the 50s.
If you can't physically visit the Archive facility in Burbank, the Archive has a great blog that features samples of all the stuff and informative articles about the artists. The address of it is www.animationarchive.org.
To a cartoonist or cartoon fan, the archive is our Louvre! Thanks to Steve and all the collectors who have contributed and to all the good folks at ASIFA-Hollywood for making it happen!
John Kricfalusi
To contribute, please see the... Contribution Categories Page
Donate online using our PayPal button...
To join ASIFA-Hollywood, please see the Membership Page
Contributions can be sent to...
ASIFA-Hollywood
Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
When contributing to this project, please write ARCHIVE DONATION on the subject line of your check.
Our cartoon heritage is quickly disappearing from history. You don't see many classic cartoons on television anymore- certainly not black and white cartoons. The Golden Age of Cartoons, classified by historians to be generally from 1928 to 1960 is dominated in most people's minds by Walt Disney's features and the Warner Bros. cartoons, which are often seen in "restored" edited, cut and recolored versions that don't look like the films as they were created by the original artists. There's a lot more to the story... There were many lesser-known studios that contributed to the development of cartoons as well: the Fleischers, Terrytoons, Famous Studios, and Columbia. Wonderful cartoons made by these studios and many others are almost completely impossible to see anymore. You can find a few bad prints of public domain cartoons on cheapie DVDs, but the vast library of classics has practically vanished from history and worse, from the attention of new audiences that could enjoy them and young cartoonists that could benefit from them.
Animators today have a very hard time finding the best cartoons ever made to help them learn and be proud of their craft.
The ASIFA-Hollywood Animation Archive is coming to our rescue. Stephen Worth, with the help of private collectors, is amassing a huge collection of classic cartoons and logging them by studio and chronology to make these lost films available to the public, while the owners of the cartoons are just letting them collect dust in vaults.
At the Archive, not only can you view the cartoons, you can also see a great collection of cartoon related art- art that inspired many of the animators of the past. Children's book illustrations, comic books, comic strips... it's all there. ASIFA-Hollywood is also collecting interviews and articles about cartoonists, animators and illustrators to tell the history of animation through the stories of the artists who created it.
The ASIFA-Hollywood Animation Archive is something I wish I had when I was a kid. It's an invaluable storehouse of lost techniques from an artform that developed to its highest peak during the 30s to the 50s.If you can't physically visit the Archive facility in Burbank, the Archive has a great blog that features samples of all the stuff and informative articles about the artists. The address of it is www.animationarchive.org.
To a cartoonist or cartoon fan, the archive is our Louvre! Thanks to Steve and all the collectors who have contributed and to all the good folks at ASIFA-Hollywood for making it happen!
John Kricfalusi
To contribute, please see the... Contribution Categories Page
Donate online using our PayPal button...
To join ASIFA-Hollywood, please see the Membership Page
Contributions can be sent to...
ASIFA-Hollywood
Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
When contributing to this project, please write ARCHIVE DONATION on the subject line of your check.
Celebrating Stop Motion:
There are events for 2-D animation there are events for 3-D computer animation but nobody does events for Stop Motion.
Last Wednesday night I got a call from the East Coast. That is no big surprise since I hail from those parts. The big surprise is that I did not know the stop motion animator who called to say he was coming in to LA to the ASIFA-Hollywood Stop Mo Expo on Woodbury campus on April 21st.
There will be a planning meeting for the Stop Mo Expo this Tuesday night:
Tuesday, February 27th - 7 PM
Room D104 Design Center
Woodbury University Campus
7500 N Glenoaks Blvd
Burbank , CA 91504
The set for the stop motion animation jam is in the works. I am trying for forced prospective in a easily transportable suitcase set design with a 90 degree rotation and glass support plates with controlled lighting. We will see what happens.
If you want to be part of this project come on out to Woodbury tomorrow night and join the planning session. Still lots to be done.
Larry Loc (ASIFA Blog Guy)
There are events for 2-D animation there are events for 3-D computer animation but nobody does events for Stop Motion.
Last Wednesday night I got a call from the East Coast. That is no big surprise since I hail from those parts. The big surprise is that I did not know the stop motion animator who called to say he was coming in to LA to the ASIFA-Hollywood Stop Mo Expo on Woodbury campus on April 21st.
There will be a planning meeting for the Stop Mo Expo this Tuesday night:
Tuesday, February 27th - 7 PM
Room D104 Design Center
Woodbury University Campus
7500 N Glenoaks Blvd
Burbank , CA 91504
The set for the stop motion animation jam is in the works. I am trying for forced prospective in a easily transportable suitcase set design with a 90 degree rotation and glass support plates with controlled lighting. We will see what happens.
If you want to be part of this project come on out to Woodbury tomorrow night and join the planning session. Still lots to be done.
Larry Loc (ASIFA Blog Guy)
Sunday, February 25, 2007
Archive: Herb Klynn's The Shrimp Part One
Here is an interesting post... an unsold pilot from Herb Klynn's Format Films titled "The Shrimp"...
Pitch: Herb Klynn's The Shrimp Part One
Great stuff!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Pitch: Herb Klynn's The Shrimp Part One
Great stuff!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Saturday, February 24, 2007
Thank you Jeffery and DreamWorks for a great Pre-Oscar Brunch. It was a great event and the food was out of site grade A great. I had a very good time.
Larry Loc (ASIFA Blog Guy)
Archive: More 50s and 60s Album Covers
Here's a nice selection of 50s and 60s album covers that we digitized today...
Media: More 50s and 60s Album Covers
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: More 50s and 60s Album Covers
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Friday, February 23, 2007
Archive: Uncle Remus Stories Part Two
Today, we digitized more images from the Giant Golden Book, Uncle Remus Stories...
Illustration: Uncle Remus Stories Part Two
If you missed the first posting from this book, see...Uncle Remus Stories 1949 Part One
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Illustration: Uncle Remus Stories Part Two
If you missed the first posting from this book, see...Uncle Remus Stories 1949 Part One
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Thursday, February 22, 2007
Reports on a Fun Event w/ thoughts on a Forgotten Master:
Martha and Sol Sigall graciously made an appearance at Laguna College of Art & Design yesterday. I had a fun time. Sol and Martha are some of my all time favorite people in or outside the animation community. We showed some of the cartoons Martha worked on, she showed some classic Warner Bros. model sheets and art work, talked about lots of great animation stories from the golden age, and answered lots of questions for the students.
Now Martha has worked with all the greats, Chuck, Friz, Tex, Robert Clampett (I knew the answer before I asked her this question which is why I asked it) Just who is your favorite classic Warner Bros. director? The students were a little shocked when she said Frank Tashlin.
It didn`t shock me. I am a big Tashlin fan. But he is the overlooked master. He was the very first to treat animation like film. He brought live action sensibility into animation with really long pans and rapid cuts and cool camera angles and he was the first to break the 4th wall. Something that has become a Looney Tunes standard.
I completely agree with Martha, Frank Tashlin is an overlooked animation master and well worth a lot of study by animation students. You could also learn a lot looking at his live action films, because Frank also brought cartoon sensibility to his live action work.
Enough of the soapbox, lets take a look at some the images from yesterday`s get together with Martha and Sol. Very cool stuff.
Larry Loc (ASIFA Blog Guy)
Martha and Sol Sigall graciously made an appearance at Laguna College of Art & Design yesterday. I had a fun time. Sol and Martha are some of my all time favorite people in or outside the animation community. We showed some of the cartoons Martha worked on, she showed some classic Warner Bros. model sheets and art work, talked about lots of great animation stories from the golden age, and answered lots of questions for the students.
Now Martha has worked with all the greats, Chuck, Friz, Tex, Robert Clampett (I knew the answer before I asked her this question which is why I asked it) Just who is your favorite classic Warner Bros. director? The students were a little shocked when she said Frank Tashlin.
It didn`t shock me. I am a big Tashlin fan. But he is the overlooked master. He was the very first to treat animation like film. He brought live action sensibility into animation with really long pans and rapid cuts and cool camera angles and he was the first to break the 4th wall. Something that has become a Looney Tunes standard.
I completely agree with Martha, Frank Tashlin is an overlooked animation master and well worth a lot of study by animation students. You could also learn a lot looking at his live action films, because Frank also brought cartoon sensibility to his live action work.
Enough of the soapbox, lets take a look at some the images from yesterday`s get together with Martha and Sol. Very cool stuff.
Larry Loc (ASIFA Blog Guy)
Tuesday, February 20, 2007
Archive: John Held Jr.
Today, Archive volunteer Gary Francis brought by a couple of Playboy magazines from the late 60s for us to digitize. Included in one was a feature on the famous 1920s cartoonist/illustrator, John Held Jr.
Pinups: John Held Jr.
Held's images of flappers and sheiks crystalized the image of jazz age flaming youth. Check it out...
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Pinups: John Held Jr.
Held's images of flappers and sheiks crystalized the image of jazz age flaming youth. Check it out...
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Cartoon Inflation Index:
Would you pay $3 for a 1933 Walter Lantz Oswald The Lucky Rabbit cartoon? I did just the other day. And the thing that burned me up a little was that the disk had been marked up from 99 cents.
The 99-cent disks that have flooded the market for the last couple of years are being systematically dumped to thrift stores. And the thrift stores are pricing these dollar disks like major release DVDs and ironically tripling the original selling price on the Public Domain product.
Maybe this is the birth of a new distribution pipeline for PD cheapo DVD producers? It gives you something to think about. And it all comes down to how much I really want that 1 title.
Titles on this disk:
Larry Loc (ASIFA Blog Guy)
Would you pay $3 for a 1933 Walter Lantz Oswald The Lucky Rabbit cartoon? I did just the other day. And the thing that burned me up a little was that the disk had been marked up from 99 cents.
The 99-cent disks that have flooded the market for the last couple of years are being systematically dumped to thrift stores. And the thrift stores are pricing these dollar disks like major release DVDs and ironically tripling the original selling price on the Public Domain product.
Maybe this is the birth of a new distribution pipeline for PD cheapo DVD producers? It gives you something to think about. And it all comes down to how much I really want that 1 title.
Titles on this disk:
- Poor Cinderela 1934
- Pantry Panic 1941
- Raggedy Ann the Enchanted Square 1947
- (Oswald Rabbit)The Zoo 1933
- Bored of Education 1946
- One Good Turn (Felix) 1929
- Feudin, Fuss `n Hillbully (New 3 Stooges) 1965
- Quack-A-Doodle-Do (Baby Huey) 1950
- A Date To Skate (Popeye) 1938
Larry Loc (ASIFA Blog Guy)
Sunday, February 18, 2007
Get Set, Animate:
I am deep in stop motion set design this weekend in preparation for the animation jam at the upcoming Stop Mo Expo.
The trick here is to create an environment that will lend itself to speed in stop motion animation execution. Not something that is natural to the process.
The big problem is support in movement. There comes a time in walk and run cycles when the model in unbalanced or even airborne. I am working on a design that will eliminate the need for wire or support bar removal in post production.
The plan is to work with a down shooting setup with airborne support provided by sheets of glass. Lighting becomes the big problem with reflections the great enemy. Therefore lighting must be build into the set with limiters part of build. These problems were licked in cel animation so it is doable.
I am thinking of raffling off the set at the end of the Stop Mo Expo. It would be fun to have this set go to someone who would continue to use it to make stop motion animation films. Heaven knows we don`t have the storage at the archive.
Larry Loc (ASIFA Blog Guy)
I am deep in stop motion set design this weekend in preparation for the animation jam at the upcoming Stop Mo Expo.
The trick here is to create an environment that will lend itself to speed in stop motion animation execution. Not something that is natural to the process.
The big problem is support in movement. There comes a time in walk and run cycles when the model in unbalanced or even airborne. I am working on a design that will eliminate the need for wire or support bar removal in post production.
The plan is to work with a down shooting setup with airborne support provided by sheets of glass. Lighting becomes the big problem with reflections the great enemy. Therefore lighting must be build into the set with limiters part of build. These problems were licked in cel animation so it is doable.
I am thinking of raffling off the set at the end of the Stop Mo Expo. It would be fun to have this set go to someone who would continue to use it to make stop motion animation films. Heaven knows we don`t have the storage at the archive.
Larry Loc (ASIFA Blog Guy)
Saturday, February 17, 2007
Archive: Tytla and Terry-Jekyll and Hyde
Today's treasure is a Mighty Mouse cartoon with spectacular animation by Bill Tytla...
Filmography: Tytla & Terry-Jekyll & Hyde
We'll be back at the archive on Tuesday with more amazing stuff!
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Filmography: Tytla & Terry-Jekyll & Hyde
We'll be back at the archive on Tuesday with more amazing stuff!
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Thursday, February 15, 2007
Archive: Norelius and Bauer Bland Tomtar Och Troll 1944/49
Today we scanned two more Swedish fairy tale books in the Bland Tomtar Och Troll Series- 1944 and 1949...
Illustration: Einar Norelius and John Bauer's Bland Tomtar Och Troll 1944/49
John Bauer and Einar Norelius are amazing artists. This is our fourth posting on these wonderful books that are rarely seen in the United States.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Illustration: Einar Norelius and John Bauer's Bland Tomtar Och Troll 1944/49
John Bauer and Einar Norelius are amazing artists. This is our fourth posting on these wonderful books that are rarely seen in the United States.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
ASIFA Stop Mo Expo Planning Session No. 2:
A planning session for the upcoming (April 21st) ASIFA-Hollywood Stop Mo Expo will take place on:
Tuesday, February 27th - 7 PM
Room D104 Design Center
Woodbury University Campus
7500 N Glenoaks Blvd
Burbank , CA 91504
We are getting down to the wire on this event. We still have a lot to do. Come on out and be part of this exciting one of a kind event.
Larry Loc (ASIFA Blog Guy)
A planning session for the upcoming (April 21st) ASIFA-Hollywood Stop Mo Expo will take place on:
Tuesday, February 27th - 7 PM
Room D104 Design Center
Woodbury University Campus
7500 N Glenoaks Blvd
Burbank , CA 91504
We are getting down to the wire on this event. We still have a lot to do. Come on out and be part of this exciting one of a kind event.
Larry Loc (ASIFA Blog Guy)
Tuesday, February 13, 2007
Yet Again More Annie Photos:
Jason Jones worked Sunday night as the assistant to the Annies photographer. Jason had the good sense to snap digital photos while he was assisting. And here they are.
Larry Loc (ASIFA Blog Guy)
Jason Jones worked Sunday night as the assistant to the Annies photographer. Jason had the good sense to snap digital photos while he was assisting. And here they are.
Larry Loc (ASIFA Blog Guy)
Monday, February 12, 2007
More Annie Photos
Here are some photos from this Sunday's Annie Awards... The shirt I'm wearing was made for me by my sister from material made in the early 30s. (Sorry there are so many of me! I wasn't the one holding the camera this time.) Many thanks to all the people who attended.
Me with my brother, Don and niece Sarah
Margaret Kerry Willcox, the rotoscope model for
Tinkerbell and voice actress from Clutch Cargo
Archive Sponsor Kevin Koch, President of the Animation Guild
Bill Frake, storyboard artist (Bill has some great lecture notes
from Disney he will be sharing with us soon.)
Marea and Jerry Beck, Archive Angels
Annette O'Neil, whose expertise makes the Annies
a success year after year
Andreas Deja, Winsor McCay Award recipient and Archive Angel
Kathy and Antran, two of the greatest people I know
The Annie Trophy Girls (the Annies are a lot of fun!)
If anyone out there has photos of the event, please email them to me with the names of the people in the picture at sworth@animationarchive.org
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Me with my brother, Don and niece Sarah
Margaret Kerry Willcox, the rotoscope model for
Tinkerbell and voice actress from Clutch Cargo
Archive Sponsor Kevin Koch, President of the Animation Guild
Bill Frake, storyboard artist (Bill has some great lecture notes
from Disney he will be sharing with us soon.)
Marea and Jerry Beck, Archive Angels
Annette O'Neil, whose expertise makes the Annies
a success year after year
Andreas Deja, Winsor McCay Award recipient and Archive Angel
Kathy and Antran, two of the greatest people I know
The Annie Trophy Girls (the Annies are a lot of fun!)
If anyone out there has photos of the event, please email them to me with the names of the people in the picture at sworth@animationarchive.org
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Bill Plympton Volunteer Firefighter:
Below are photos of the 34th Annual Annie Awards. I took video at the pre and post party so currently I only have photos of the award show up. I will be labeling these images later (early) this week and grabbing video images of pre and post parties also.
It is reported that Bill Plymton had to battle a small electrical fire that broke out back stage just before he was set to get his Winsor McCay Award. The fire was quickly contained but we did lose Video projection for about 15 minutes. Speaking of Winsor McCay, I was setting right behind his grand and great grand children.
Best feature director and best feature animation was split this year with Tim Johnson & Karey Kirkpatrick taking directing for Over the Hedge and Cars taking best feature.
One of the big draws to the Stop Motion community at the after party was clay animator master Bruce Bickford who had a steady pilgrimage all through the night. Bruce was giving out custom made business cards each with a mini sculpted masterpiece embedded.
I managed to put together most of my panels for Comic Con at the pre party wading through the sold out crowd. Also got to spend time with lots of friends. And I even scored a cool Cars pin thanks to the quick thinking of my wife Ruth. My kids were great as Annie Volunteers for there 3rd year in a row. Thank the Animation Gods I was smart enough to prep for my Monday Afternoon class before leaving for Glendale.
Larry Loc (ASIFA Blog Guy)
Below are photos of the 34th Annual Annie Awards. I took video at the pre and post party so currently I only have photos of the award show up. I will be labeling these images later (early) this week and grabbing video images of pre and post parties also.
It is reported that Bill Plymton had to battle a small electrical fire that broke out back stage just before he was set to get his Winsor McCay Award. The fire was quickly contained but we did lose Video projection for about 15 minutes. Speaking of Winsor McCay, I was setting right behind his grand and great grand children.
Best feature director and best feature animation was split this year with Tim Johnson & Karey Kirkpatrick taking directing for Over the Hedge and Cars taking best feature.
One of the big draws to the Stop Motion community at the after party was clay animator master Bruce Bickford who had a steady pilgrimage all through the night. Bruce was giving out custom made business cards each with a mini sculpted masterpiece embedded.
I managed to put together most of my panels for Comic Con at the pre party wading through the sold out crowd. Also got to spend time with lots of friends. And I even scored a cool Cars pin thanks to the quick thinking of my wife Ruth. My kids were great as Annie Volunteers for there 3rd year in a row. Thank the Animation Gods I was smart enough to prep for my Monday Afternoon class before leaving for Glendale.
Larry Loc (ASIFA Blog Guy)
2006 Annie Award Winners
PRODUCTION CATEGORIES
INDIVIDUAL ACHIEVEMENT CATEGORIES
JURIED AWARDS
- Best Animated Feature: Cars - Pixar Animation Studios
- Best Home Entertainment Production: Bambi II - DisneyToon Studios
- Best Animated Short Subject: No Time For Nuts - Blue Sky Studios
- Best Animated Television Commercial: United Airlines "Dragon" - DUCK Studios
- Best Animated Television Production: Foster's Home for Imaginary Friends - Cartoon Network Studios
- Best Animated Video Game: Flushed Away The Game - D3 Publisher of America, Inc.
INDIVIDUAL ACHIEVEMENT CATEGORIES
- Animated Effects: Scott Cegielski - "Flushed Away" - DreamWorks Animation & Aardman Features
- Character Animation in a Feature Production: Gabe Hordos - "Flushed Away" - DreamWorks Animation & Aardman Features
- Character Animation in a Television Production: Yu Jae Myung - Avatar "The Blind Bandit" - Nickelodeon
- Character Design in an Animated Feature Production: Nicolas Marlet - "Over The Hedge" - DreamWorks Animation
- Character Design in an Animated Television Production: Mike Kunkel - The Life & Times of Juniper Lee "Party Monsters" - Cartoon Network Studios
- Directing in an Animated Feature Production: Tim Johnson & Karey Kirkpatrick - "Over The Hedge" - DreamWorks Animation
- Directing in an Animated Television Production: Giancarlo Volpe - Avatar "The Drill" - Nickelodeon
- Music in an Animated Feature Production: Randy Newman - "Cars" - Pixar Animation Studios
- Music in an Animated Television Production: James L. Venable & Jennifer Kes Remington - Foster's Home for Imaginary Friends "One False Movie" - Cartoon Networks Studios
- Production Design in an Animated Feature Production: Pierre-Olivier Vincent - "Flushed Away" - DreamWorks Animation & Aardman Features
- Production Design in an Animated Television Production: Martin Ansolabehere - Foster's Home for Imaginary Friends "Good Wilt Hunting" - Cartoon Network Studios
- Storyboarding in an Animated Feature Production: Gary Graham "Over The Hedge" - DreamWorks Animation
- Storyboarding in an Animated Television Production: Li Hong - The X's "You Only Sneeze Twice" - Nickelodeon
- Voice Acting in an Animated Feature Production: Ian McKellan - Voice of the Toad - "Flushed Away" - DreamWorks Animation & Aardman Features
- Voice Acting in an Animated Television Production: Eartha Kitt - Voice of Yzma - The Emperor's New School "Kuzclone" - Walt Disney Television Animation
- Writing in an Animated Feature Production: Dick Clement & Ian La Frenais and Chris Lloyd & Joe Keenan and Will Davies - "Flushed Away" - DreamWorks Animation & Aardman Features
- Writing in an Animated Television Production: Ian Maxtone-Graham - The Simpsons "The Seemingly Neverending Story" - Gracie Films
JURIED AWARDS
- June Foray Award - Significant and benevolent or charitable impact on the art and industry of animation: Stephen Worth
- Winsor McCay Award - Recognition of lifetime or career contributions to the art of animationL Bill Plympton, Genndy Tartakovsky, Andreas Deja
- Certificate of Merit: Bill Matthews, Michael Fallik, Marc Deckter, Eric Graf
Saturday, February 10, 2007
The Armature as Fine Art - Out to Eat With Stop Mo:
As a Stop Motion guy I always think about what is going on under the skin of the stop motion models in much the way as I imagine a doctor thinks about bones and muscles. I have seen the underside of a great many stop motion models and often the armature has great functional beauty.
Justin Kohn has embraced that beauty of the armature for the thing in itself with a series of fully functional armatures that are designed to be works of fine art in themselves. I look at these pieces and I just want to touch them, to move them, to pose them. And I got to. It would be a sin to put a skin over this beauty.
Then I went out to eat with a large number of stop motion people, Stephen Chiodo, Jim Aupperle, Bruce Brickford. In all there were about 13 of us in an Indian restaurant. Jim Aupperle (best known for a number of other things but my favorite will always be the stop Motion in Flesh Gordon) has just signed on to be a guest at the Stop Mo Expo.
Bruce Brickford, probably best know for his clay animation in Frank Zappa`s Baby Snakes, has been in town all last week as a visiting artist at Cal Arts.
I got to see 2 of his animations while over at the Chiodo Bros. One of the works was Bruce Brickford line animation, a side to the animator almost no one knows. The other work was his new clay animation Prometheus` Garden, very powerful and almost nightmarish in its haunting unrelenting thought provoking dreamlike assault on the senses. An importance work that needs to be shown to a wider audience.
Bruce will be attending the 34th Annie Awards with Stephen Chiodo this Sunday before flying back to Seattle. Bruce doesn`t get in town that often, take the opportunity and say hello.
Larry Loc (ASIFA Blog Guy)
As a Stop Motion guy I always think about what is going on under the skin of the stop motion models in much the way as I imagine a doctor thinks about bones and muscles. I have seen the underside of a great many stop motion models and often the armature has great functional beauty.
Justin Kohn has embraced that beauty of the armature for the thing in itself with a series of fully functional armatures that are designed to be works of fine art in themselves. I look at these pieces and I just want to touch them, to move them, to pose them. And I got to. It would be a sin to put a skin over this beauty.
Then I went out to eat with a large number of stop motion people, Stephen Chiodo, Jim Aupperle, Bruce Brickford. In all there were about 13 of us in an Indian restaurant. Jim Aupperle (best known for a number of other things but my favorite will always be the stop Motion in Flesh Gordon) has just signed on to be a guest at the Stop Mo Expo.
Bruce Brickford, probably best know for his clay animation in Frank Zappa`s Baby Snakes, has been in town all last week as a visiting artist at Cal Arts.
I got to see 2 of his animations while over at the Chiodo Bros. One of the works was Bruce Brickford line animation, a side to the animator almost no one knows. The other work was his new clay animation Prometheus` Garden, very powerful and almost nightmarish in its haunting unrelenting thought provoking dreamlike assault on the senses. An importance work that needs to be shown to a wider audience.
Bruce will be attending the 34th Annie Awards with Stephen Chiodo this Sunday before flying back to Seattle. Bruce doesn`t get in town that often, take the opportunity and say hello.
Larry Loc (ASIFA Blog Guy)
Friday, February 09, 2007
Archive: The 34th Annual Annie Awards
This Sunday at the historic Alex Theater in Glendale, CA, The International Animated Film Society: ASIFA-Hollywood will be hosting the 34th Annual Annie Awards.
The Annies recognizes excellence in animation from the past year, along with career achivement honors. This year's Winsor McCay Award winners are Andreas Deja, Bill Plympton and Genndy Tartakovsky. I'm proud to say that I was selected this year for the June Foray Award for benevolent service to the art of animation.
Click to see the ASIFA-Hollywood Animation Archive's full page color ad in the Annie Awards program book,
For more information, see the Annie Awards Homepage. I'll have a report on the event for you on Tuesday.
Thank you
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
This Sunday at the historic Alex Theater in Glendale, CA, The International Animated Film Society: ASIFA-Hollywood will be hosting the 34th Annual Annie Awards.The Annies recognizes excellence in animation from the past year, along with career achivement honors. This year's Winsor McCay Award winners are Andreas Deja, Bill Plympton and Genndy Tartakovsky. I'm proud to say that I was selected this year for the June Foray Award for benevolent service to the art of animation.
Click to see the ASIFA-Hollywood Animation Archive's full page color ad in the Annie Awards program book,
For more information, see the Annie Awards Homepage. I'll have a report on the event for you on Tuesday.Thank you
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
What Time Annie:
I have gotten a number of questions about when the Annie Awards start. This is cool for me because I have gotten to talk to a lot of friends over the last few days. But for those of you that do not have my phone number here is the 411 on the Annie times.
I know that the ticket says 5 and the web site says 3. They are both right in their own way.
The before show meet and greet starts at 3 PM with white wine and finger food and lots of talking.
The award show starts at 5 PM.
And the after party starts after the award show is over.
And Monday morning start way too early for me with my daughter getting up around 5:30 AM for school followed by a 1 PM class for me.
Hope I cleared up any confusion.
Larry Loc (ASIFA Blog Guy)
I have gotten a number of questions about when the Annie Awards start. This is cool for me because I have gotten to talk to a lot of friends over the last few days. But for those of you that do not have my phone number here is the 411 on the Annie times.
I know that the ticket says 5 and the web site says 3. They are both right in their own way.
The before show meet and greet starts at 3 PM with white wine and finger food and lots of talking.
The award show starts at 5 PM.
And the after party starts after the award show is over.
And Monday morning start way too early for me with my daughter getting up around 5:30 AM for school followed by a 1 PM class for me.
Hope I cleared up any confusion.
Larry Loc (ASIFA Blog Guy)
Thursday, February 08, 2007
Click image for link to details
This just in from Bob (Porky Pig) Bergen. He is going to be putting on his one man show again, NOT JUST ANOTHER PRETTY VOICE. This show had a 3 month run about 7 years ago and was ADA nominated as best one person show. He also used excerpts of it as an opening act for Kenny Rogers. It's the story of a nice Jewish boy who wanted to grow up to be Porky Pig.
Larry Loc (ASIFA Blog Guy)
Wednesday, February 07, 2007
Archive: Celebrate!
Tonight, the Board of Directors of ASIFA-Hollywood voted to fund the full time operation of the Animation Archive in 2007. Beginning in March, the archive will be open to the public Tuesday through Friday from 1pm to 9pm. It will continue to be open to volunteers on Saturdays for the same hours.
Thanks to all of you who sent letters of support and donations. We are doing great things here, and all of you can be proud of what we are accomplishing together.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Tonight, the Board of Directors of ASIFA-Hollywood voted to fund the full time operation of the Animation Archive in 2007. Beginning in March, the archive will be open to the public Tuesday through Friday from 1pm to 9pm. It will continue to be open to volunteers on Saturdays for the same hours.
Thanks to all of you who sent letters of support and donations. We are doing great things here, and all of you can be proud of what we are accomplishing together.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Corky Quakenbush Signs on For Stop Mo Expo:
Hi Larry,
That sounds like a lot of fun! I would be honored to be included! ... and I would love for you to screen some work, old or new... just let me know.
Best,
Corky
Larry Loc (ASIFA Blog Guy)
Hi Larry,
That sounds like a lot of fun! I would be honored to be included! ... and I would love for you to screen some work, old or new... just let me know.
Best,
Corky
Larry Loc (ASIFA Blog Guy)
Sunday, February 04, 2007
Video Clip from Afternoon of Rememberance:
Robert and Steve Waldman talk about their father video clip
Larry Loc (ASIFA Blog Guy)
Robert and Steve Waldman talk about their father video clip
Larry Loc (ASIFA Blog Guy)
Afternoon of Rememberance in photos:
The Afternoon of Remembrance was, as always, a great event. The family of Myron Waldman came in for the event form New York and Florida. I got to see some incredible Waldman art work. And Stories, I got to hear some stories that I will be passing on to my students and my students will think I know so much and have done so much research and am such a scholar. If they only knew how much I take away from the Afternoon of Remembrance each year.
We had time constraints yesterday. For that reason I was unable to read all of the comments on Alex Toth that I had received from Irwin Hasen and Lance Falk. So I am going to publish their complete comments here.
Irwin Hasen, the creator of Dondi and the regular artist on Green Lantern in the 1940 was an early mentor to Alex Toth. He was also my teacher at the Kubert School in the late 70s. Irwin has been teaching at the Joe Kubert School of Cartoon and Graphic Arts for the last 30 years. A young Alex Toth use to hang out at Irwin`s studio in the 40s and would bribe Irwin to critique his art work with gifts of his mother`s cooking. Irwin has carried on a correspondence with Alex over the years. The post cards that Alex sent to Irwin and other friends, tightly lettered both front and back with his philosophy of art and his observations of the human condition, are being collected into a book.
Lance Falk is a character designer, color stylist, property designer, model designer and storyboard artist. He has worked at Hanna & Barbera, on Animaniacs, and a whole lot more. As a designer he is a major fan of the work of Alex toth and has gone out of his way to collect copies of the work that Toth did in animation and in comics.
Next up, the Annie Awards.
Larry Loc (ASIFA Blog Guy)
The Afternoon of Remembrance was, as always, a great event. The family of Myron Waldman came in for the event form New York and Florida. I got to see some incredible Waldman art work. And Stories, I got to hear some stories that I will be passing on to my students and my students will think I know so much and have done so much research and am such a scholar. If they only knew how much I take away from the Afternoon of Remembrance each year.
We had time constraints yesterday. For that reason I was unable to read all of the comments on Alex Toth that I had received from Irwin Hasen and Lance Falk. So I am going to publish their complete comments here.
Irwin Hasen, the creator of Dondi and the regular artist on Green Lantern in the 1940 was an early mentor to Alex Toth. He was also my teacher at the Kubert School in the late 70s. Irwin has been teaching at the Joe Kubert School of Cartoon and Graphic Arts for the last 30 years. A young Alex Toth use to hang out at Irwin`s studio in the 40s and would bribe Irwin to critique his art work with gifts of his mother`s cooking. Irwin has carried on a correspondence with Alex over the years. The post cards that Alex sent to Irwin and other friends, tightly lettered both front and back with his philosophy of art and his observations of the human condition, are being collected into a book.
Lance Falk is a character designer, color stylist, property designer, model designer and storyboard artist. He has worked at Hanna & Barbera, on Animaniacs, and a whole lot more. As a designer he is a major fan of the work of Alex toth and has gone out of his way to collect copies of the work that Toth did in animation and in comics.
Irwin Hasen:
I fondly recall, in the early 1940s this gangly kid in knickers and sweater showing up at my apartment studio in Manhattan bearing a pot of his mother`s Hungarian goulash and a stack of his cartoons waiting to be critiqued.
He was working at National Comics, now DC, he was hired by the brilliant editor Sheldon Mayer, Alex told me, because he was a fan of my work. Go figure!
Alex soon became a top comic book artist for a short time in N.Y. and then left for California to do animation among other areas of cartoon work.
I never saw my friend again, but he kept in touch with crowded, front and back post cards. And these [post cards] carried a message of cogent but unsettling appraisals of human nature.
Alex Toth was the ultimate graphic artist, never relinquishing his own dogma of simplicity. His body of work, so varied and with such elegant style, never veering away from his dogma of no clutter, simplicity and above all be honest to thine own self. I so value, to this day, the brief encounter I had with this genius of our milieu who I believe enriched my own efforts in this working world of the cartoonist.
Irwin Hasen
NYC 2006
Lance Falk
Alex Toth: The Artist`s Artist.
I didn`t know him well. We had a handful of phone conversations and I had the pleasure of visiting him a few times at his home in the Hollywood Hills.
Anyone will tell you that Alex was an intense guy. Very passionate about his opinions and he would not suffer fools. He was always polite and friendly to me, though I found him to be a very volatile guy when talking about the old days or any current trends.
Let`s just say, it was a bit different from the time I got to visit Jack Kirby.
I really came to know Alex by going through The Hanna-Barbera model archives and greedily photocopying every scrap of his that I could find. If you`re a designer, you`ll understand why.
It was clear that this was the work of an actual genius. All technically brilliant, his machines were mechanically flawless, his characters had warmth, appeal, and humanity. Alex`s imagination was an endless fount of perfect ideas.
I`m the thousandth person in stating that Alex could say more in a handful of well-chosen lines than any other designer could with a full-blown illustration. . . . making Alex`s numerous skills perfect for animation.
Alex entered animation after already establishing himself as a master draftsman in comic books. The transition isn`t as easy as most people assume because the technical requirements are very different. For most artists, it takes a lifetime to master the technical aspects of their own area of the assembly line. Alex not only adapted to the medium of film, he thrived.
He quickly became a top designer of characters, vehicles, objects and locations. He served as a development and presentation artist. Alex quickly took on the two technically complicated areas of Layout and Storyboarding. He did it all effortlessly and brilliantly.
Comparable to Jack Kirby (in comic books). Toth was not only the best at what he did, he was also the most prolific. He did the work of a small army of artists...while also doing the very best design work anyone had ever seen at the studio.
Alex`s brilliant mind could solve any artistic challenge, and he not only learned his areas of animation, he became conversant in every aspect of the field.
Proof of this is a 10-page article he did for DC comics (in a Superfriends` comic book, appropriately enough) which shows the animation process beginning to end. To this day, there has never been a clearer, more precise explanation of the medium.
The man was a genius in the literal sense. If his muse had struck him differently he would have made one hell of a live action film director, art director, or even mechanical engineer.
Sadly, Alex never believed he was appreciated in his fields of endeavor. When it comes to the general public, I agree. If you ask his fellow artists, this isn`t the case at all. When it comes to Alex Toth, they`ll tell you, the more you know, the more you appreciate his work.
I`ll end this with some words he wrote to me:
The Beauty of the Simple Thing
To Add to the Truth Only Subtracts From It
The Simple Thing is Always Best
. . .They All Say the Same Thing -
It is Devined Sooner or Later, By Anyone in the Arts Who Cares About Truth and Beauty Through Economy, Simplicity and Clarity, to Tell One`s Own Story in One`s Own Way. - As Our Holy Grail - Our Cause, Quest, Purpose,
-and that is the Fun of Any Art, Craft, or Discipline - To Do it Better, Simpler, Until Nothing Can Be Taken Away or Added to Make It Whole and Right.
This Pursuit is For Those Among Us Who Forever Remain Curious, Open, Fresh to All Methodologies, and are Content to Be the Student All Their Lives and Make it Playtime.
--------------
Larry. Feel free to use your editing pen anywhere you see fit to make it read more smoothly. (except Alex`s words, of course. He`d HATE that!)
Next up, the Annie Awards.
Larry Loc (ASIFA Blog Guy)
Saturday, February 03, 2007
Archive: Nat Falk's How To Draw Animated Cartoons Part Four
Today, we posted an article from a 1962 issue of TV Guide on Bob Clampett's Swimming Pool, and the next chapter in Nat Falk's How To Draw Animated Cartoons...
History: Nat Falk's How To Draw Animated Cartoons Part Four
If you aren't checking the Archive blog regularly, you are missing out on some great stuff!
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
History: Nat Falk's How To Draw Animated Cartoons Part Four
If you aren't checking the Archive blog regularly, you are missing out on some great stuff!
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Archive: We're Cool and Abstract!
Jerry Beck sent me an emal this morning with a link to the webpage of a musician/photographer friend of his, Kim Shattuck. If you are one of our "regulars" who hang out at the archive on Tuesdays and Thursdays, check out her gallery page and take a look at the photo titled "Orange and White"... Look familiar?
Jerry Beck sent me an emal this morning with a link to the webpage of a musician/photographer friend of his, Kim Shattuck. If you are one of our "regulars" who hang out at the archive on Tuesdays and Thursdays, check out her gallery page and take a look at the photo titled "Orange and White"... Look familiar?
The Afternoon of Remembrance
Saturday,
February 3, 2007
Food and refreshments, 1 pm * Memoriams, 2 pm
Hollywood Heritage Museum (Lasky-DeMille Barn)
2100 N. Highland (across from Hollywood Bowl), Hollywood
The Afternoon is free of charge and is open to all; no RSVPs necessary.
Larry Loc (ASIFA Blog Guy)
Saturday,
February 3, 2007
Food and refreshments, 1 pm * Memoriams, 2 pm
Hollywood Heritage Museum (Lasky-DeMille Barn)
2100 N. Highland (across from Hollywood Bowl), Hollywood
The Afternoon is free of charge and is open to all; no RSVPs necessary.
Larry Loc (ASIFA Blog Guy)
Friday, February 02, 2007
Archive: Clair Weeks' Goodbye Book
Today, we had a visit from the family of Disney animator, Clair Weeks . They brought along a scrapbook that was given to Weeks when he left the studio in 1952. It's a jaw dropping snapshot of the studio staff from the early 1950s.
Biography: Clair Weeks' Goodbye Book 1952
I'm not going to tell you much about the book here, because I want it to be a surprise. Check it out and prepare to be amazed!
There are many more treasures in the Weeks collection that I will be posting over the next few weeks.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Biography: Clair Weeks' Goodbye Book 1952
I'm not going to tell you much about the book here, because I want it to be a surprise. Check it out and prepare to be amazed!
There are many more treasures in the Weeks collection that I will be posting over the next few weeks.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Thursday, February 01, 2007
You Must have been a Beautiful Baby
The Society of Illustrators Traveling Exhibition
Tonight Feb 1st at Laguna College of Art & Design
2222 Laguna Canyon Road
Laguna Beach
Reception 5 to 8
Lots of great images from the Society of Illustrators including a great Jack Davis piece and this image by Jim Bennett. Show runs until Feb 27th.
Larry Loc (ASIFA Blog Guy)
The Society of Illustrators Traveling Exhibition
Tonight Feb 1st at Laguna College of Art & Design
2222 Laguna Canyon Road
Laguna Beach
Reception 5 to 8
Lots of great images from the Society of Illustrators including a great Jack Davis piece and this image by Jim Bennett. Show runs until Feb 27th.
Larry Loc (ASIFA Blog Guy)
Jack Hightower:
Every wonder how you favorite CGI or Stop Motion animation draws? Drawing is a definite part of the animation process in both forms but in both cases the drawing never makes it to the screen. Stop Motion master animator Will Vinton has a graphic novel out in stores. It is the Story of Jack Hghtower, a Bond like super spy, and his high adventures after being zapped to a much smaller scale by his nemeses. Book
web site
Andrew Wiese and Will Vinton with their creation Jack Hightower at last year`s Comic Con.
Larry Loc (ASIFA Blog Guy)
