William Stout

Okay I admit I live in a cave. I’m sure everybody has known about William Stout for years. But incase you are a cave-dweller like myself and don’t know this guy, you are in luck.

William Stout is a chameleon artist who has mastered a plethora of styles and works in a multitude of markets. He has done comics, movie posters, film art direction, storyboards and book illustrations. His styles encapsulate the best of artists like Arthur Rackham, Charles R. Knight, N.C. Wyeth and more contemporaries such as Wally Wood, Jack Kirby, Robert Crumb, and Frank Frazetta.

The guy is just incredible. Take a look at this portion of a cover for the “Comics Journal” he did. My scanner wouldn’t allow me to get the whole thing, (click on image to enlarge), but you can tell the guys is a monster. He has deservedly worked with pioneers like George Lukas, Steven Spielberg, Disney Studios, etc. etc. etc.

Everyone's a Critic

Many leading authorities on animation have written about the limitations of computer animation and the superiority of traditional drawn animation. If you are caught up in the media of a movie it tells me there is something wrong with the story.

I’ve seen movies with budgetary constraints that have transcended their limitations and have become classics because of their entertainment value and not the media they were executed in.

Story has proven to be everything. If traditional drawn animation were the criteria that determine the validity of good animation we wouldn’t have had the idiotic proclamation: drawn animation is dead and the long string of poorly received films which prompted the opinion.

The awful truth is animation in any form is hard to pull off. It is an art and art is subjective. You may not like Picasso or you might think he is a genius. Animation is a collective endeavor done by individual artists pooling their talents to form a work that will connect emotionally and aesthetically with a broad range of people with different life styles, political beliefs and religious convictions. Sound like a hard thing to accomplish?

The complaints of floaty, weightless, plastic characters that are disconnected with their environments are ludicrous when you examine the sliding feet on walk cycles and other glaring violations of physics seen in a majority of drawn animation from top leading studios. It tells me there is something deeper with the complaints than the fact it was computer animated.

I’ve seen traditional drawn animated films that were expertly drawn with beautiful attention to detail and design that have tanked. Not because they were drawn but because the story was bad. The characters were insincere and unbelievable. They reacted wrong in situations and people just couldn’t connect.

I’m not a snob for any media. I have done drawn, stop-motion, and computer animation and believe the strength and magic of animation is not about what style or technique you employ. It is story and characters that prove the success of animation. It is an art form and art is subjective.

Thief and Cobbler Recobbled

http://smashingtelly.com/category/animation/

The link above,(or clicking on the title), will take you to Smashing Telly and their posting of Richard Williams "The Thief and the Cobbler" recobbled. This is a recreation of the way Williams originally intended the film with NO SONGS and no Johnathon Winters babbling through the entire film. This recreation has some astounding perspective animation in it which is all the more impressive considering it was done in 1967 before computers were a viable alternative.

This special fan edit of The Thief and the Cobbler reconstructed by Garrett Gilchrist of Orange Cow Productions combines the fabled uncut work print with other footage from the released versions, as well as other rare materials to create the most complete film - not to mention the most faithful to the original vision.

UPDATE: The above video by Smashing Telly has been removed.  A new one is here: 

Multi Plane Camera

I couldn't resist posting this piece of Unka Walt explaining the Multi Plane Camera. It's just great stuff.

Seated Nude 3D

Yet another free-view stereoscopic life drawing.

Click image to enlarge.

Drawing the Line

Here's another stereoscopic free-view style life drawing for all you cross-eyed kiddies out there.

Click on image to enlarge

Light Against Dark, or Hello Kitty

Light against dark. This is a mantra I end up chanting every time I paint. My Mother first tried to convey this concept to me as a boy watching her paint. Our styles differ quite a bit with her loose strokes and confident brush work. Mine is more guarded, trying to hide my brush strokes and push toward a photo real quality.




This post shows the various progressions of my oil painting:"Pink Pussycat". I wanted to do something a little disturbing so I chose my favorite theme of anthropomorphic characters. This time with a twist on childhood memories done in a mature realistic manner that I hope is slightly sinister.

I did a photo collage grafting Smokey the kittens head onto a dolls body as my guide. I sketched the image onto a canvas using burnt umber and let that dry. You can see the under sketch through my first ‘blocking in’ of color. I toned the whole surface going from lightest to dark.

Next came more defining of shadows and highlights. I tried to knock down any brush strokes with a round brush to keep them soft and defuse.

Lastly I added the details defining ribbons and flowers. The whiskers and signature finished it off.

Incidentally, my wife hates this picture. She says it's wrong and it really bothers her that a grown adult male should paint a kitty in a pink dress. I’m a little thrilled that one of my paintings can cause such a strong response. Maybe I shouldn’t be. (click on images to enlarge)

Night on a Bare Mountain

Alex Alexeieff and Claire Parker made this 1933 version of "Night on a Bare Mountain" before Disney's 1940 version in "Fantasia".

This is a little hard to watch because of the image degradation and size but you can still make out the wonderful dimensionality of some of the figures as they morph and rotate. This is quite an accomplishment considering their method of generating these images was using frames with hundreds of pins pushed through a screen. The depth of the pins determined how much light or shadow was created in the overall image. It appears to me that some of these images were superimposed or matted into a model village. I also think the scarecrow flapping in the breeze was life action but the metamorphose is animation.

Another rare treat I've read about and wanted to see for years. Isn't YouTube great?

Advance Promo: Coraline

http://www.rottentomatoes.com/m/coraline/news/1748615

/exclusive_sneak_peek_at_coraline_video_5

The link above,(or clicking on the title), will take you to Five videos about LAIKA studios stereoscopic stop-motion feature "Coraline" that will be released in 2009. Looking good!

Self Indulgence

I did a little study into my family background and found the Brinkerhoff’s have quite an illustrious presence. Constance, Fidelity, and Integrity proclaim our Family Crest, (in Latin even!). We Brinkerhoff’s hopped off the boat from Holland around 1641, but the family crest reads 1307. I had known about the Brinkerhoff Piano and the Brinkerhoff barbed-wire, (to keep renegade pianos from roaming), for some time. Now I find not only do we have streets named after us, we are also practiced in other arts such as syndicated comics, inventing, novel writing, Post Master General, oil drilling, (are these arts?), music, painting, and medicine. Of course it would be a Brinkerhoff that came up with a rectal spectrum.

UPDATE:  Oh, we also have a Ridge worth fighting over....

Brinkerhoff Family Crest (spelled Brinckerhoffe)

Brinkerhoff Street in Plattsburgh, New York.

Brinkerhoff Piano

Brinkerhoff Barbed wire

The history of Brinkerhoff Drilling is long and illustrious. Zach Brinkerhoff Jr. along with his father Zach Senior, started Brinkerhoff Drilling in 1940 in the Illinois Basin with 3 rigs.

Brinkerhoff Author

Brinkerhoff Metal Band


Post Master General

Little Mary Mixup by R.M. Brinkerhoff

Brinkerhoff Invention

Brinkerhoff Health Restoritive

Brinkerhoff Amputation Saw

Brinkerhoff Rectal Spectrum

David Derrick

I found a new blog by David Derrick. Check it out: http://www.dgderrick.com/journal

Besides sculpting David has worked as an artist in the animation Industry, primarily at DreamWorks Feature Animation. He is also a published author/illustrator. Prior to his career as an artist David studied fine art at the University of Utah and furthered his education at California Institute of the Arts (CALARTS). As a student his films were very successful garnering many awards including a student Emmy Award.

Study by David Derrick

Joy

Buster Keaton

Named Buster as a child by family friend Harry Houdini after witnessing the boy fall down a flight of stairs, Keaton went on to do some of the most physical and dangerous comedy in motion pictures. Jackie Chan has often sited Keaton as his hero and inspiration. Chuck Jones liberally took from Keaton to base his animated films.

You can find many of Keaton's films available on YouTube. Buster wrote, directed and starred in many of his films and developed technical innovations that are still being used today.

House on the Rock

One of the great things about being an animator is working with other animators. Being a rather special breed, the range of topics discussed and life experiences are all over the place. Just recently my buddy Rob mentioned a place he had visited in Wisconsin called The House on the Rock that has sparked my interest. His description sounded like something from one of my fever dreams.

I’ve taken the over-view and photos from their website to give you a taste, but you should really visit the site to see the scope of this thing: http://houseontherock.com/index.htm

Now I have to think of a reason to go to Wisconsin so I can see it myself.

The House on the Rock is the grand vision of Alex Jordan, who believed that sights and sounds were the most effective means of stimulating the senses. He wanted guests to question his creation, to come to their own conclusions and to turn his world of dreams into their own. The Attraction has room after room of some of the world's most unique and eclectic collections which has amazed thousands of visitors each year.

Whetting My Animation Appetite

When Richard Williams book "Animator's Survival Kit" came out I said I wished I would have had it thirty years ago. Now this new one has got me waiting like a kid for Christmas to come.

Book Description
Character Animation Crash Course! is a veritable Genie's lamp stuffed with everything the aspiring animator could wish for! Renowned animator Eric Goldberg's detailed text and drawings illuminate how to conceive characters "from the inside out" to create strong personalities. Classic animation techniques are analyzed and brought to life through this unique book and its accompanying CD that offers readers animated movie examples that show, in real time or frame-by-frame, the author's principles at work. Add to this Goldberg's discussions of classic cartoons and his witty, informative observations based on the wealth of knowledge he's gained during his 30-plus years in professional animation, and you have a tour-de-force guide to character animation with the classic touch.

From the Author
Foreword When I first started making films, books about character animation were rare, and most were written from the distant, historical perspective of an observer. Of the meager handful of books that actually discussed how to do animation, only two were really good: Walt Disney's Tips On Animation from the Disneyland Art Corner and the classic Advanced Animation by Preston Blair. In the half century since, many animation books have been written, but still few are considered indispensable to people interested in doing animation themselves. To that exclusive club we must add the book you now hold in your hand: Character Animation Crash Course. Among Eric's many achievements is the "Friend Like Me" sequence from Walt Disney Pictures' Aladdin, a chunk of pure cartoon magic so dense that it can be enjoyed two ways: at regular speed or one frame at a time... where every aspect of Eric's astonishing embellishments, caricature, and razor-sharp timing can be savored like fine wine. In this jam-packed book and CD Eric will show you the rules for getting the most out of your animation. If you learn them well, you'll be good. If you can internalize these rules to the point where you can call upon them without thinking, you'll be exceptional. And if you learn them as well as Eric, you might even be able to successfully break a few of these rules and add to cumulative knowledge of how to make pencil lines (or pixels, clay, stop-motion models, etc.) come to life. You might even become accomplished enough to write the next great animation book. Good thing the rest of us don't have to wait until then. We have this terrific book right now. Brad Bird -- Writer / Director, The Iron Giant, The Incredibles, Ratatouille

From the Inside Flap
"As Disney Animation great Ollie Johnston always told me, "It's not the tools that create great character animation, it's what you do with those tools." Eric's book is a terrific how-to that clearly explains the tools and the techniques for great animation in any medium. People always ask me, "How do I get started in animation?" Now I know the answer...read the Character Animation Crash Course book by Eric Goldberg!" John Lasseter - Chief Creative Officer, Walt Disney and Pixar Animation Studios
"Eric's book and CD are a first in the industry. They represent a one-of-a-kind bible for artists, teachers and fans of animation from one of the modern masters of the craft." Don Hahn - Producer, The Lion King, Beauty and the Beast

"I can't think of anyone more qualified to put together a book like this. Eric covers everything, from basic nuts and bolts to advanced technique in a clear, simple, entertaining way, just like his animation. This should be on the bookshelf of anyone who wants to know more about this elusive art form." Ron Clements - Director, The Little Mermaid, Aladdin, Hercules

About the Author
Eric Goldberg, a veteran director, designer, and animator, has worked extensively in Hollywood, New York, and London, creating feature films, commercials, title sequences, and television specials. He is equally at home with traditional hand-drawn animation and the most up-to-date computer animation, and has pioneered ground-breaking techniques in both worlds.

Raymond Scott Documentary

My favorite mad scientist other than Nichola Tesla is musician/technician Raymond Scott. Carl Stalling used the Scott themes to great effect in the Warner Brothers Cartoons. Ray was also a father to electronic music and so much more.

Scott's son Stan Warnow is making a documentary about his father's life, and it looks wonderful. The Raymond Scott Documentary will be called 'On to Something'. Check out the trailer here:
http://musicthing.blogspot.com/2008/06/raymond-scott-documentary-on-to.html

Stereoscopic Drawing

Awhile back I did a post on ViewMasters' intriguing series of stereoscopic drawings begun in the 50's. How were they accomplished? I still don't know specifically but I came across this devise called a 3DD, (three dimensional drawing device), built by Vladimir Tamari in 1973. He says the original was invented in Palestine in 1964. This makes it ten years after ViewMasters' series began. The drawing size of the 3DD is very small too which would limit the detail one could achieve.

I think I'm getting closer. But if anyone who actually worked at ViewMaster or knows someone who did would get a hold of me I would greatly appreciate it.

Dump

I don’t mean this to be critical of Mr. Jerry Beck and his baby “Cartoon Dump”. I’ve had correspondence with Mr. Beck and he is a pleasant and knowledgeable guy in all matters cartoon. That’s why I’m having difficulty with the whole premise of Cartoon Dump. It’s easy to mock something blatantly awful, (and there are truly awful cartoons), but the truth is the bad cartoons far outweigh the good. It is easy pickings to show a bad cartoon and make fun of it.

Perhaps I am picking up my old curmudgeon ways again or I’m a little sensitive about commercialism ruining a difficult art form. You heard me, art form, that’s what I’ve always considered Animation to be. The only reason these monstrosities were made was some greedy attempt at capitalizing on the success and popularity of well crafted cartoons. I don’t know how many unqualified businessmen have tried to become the ‘next’ Walt Disney.

Now Cartoon Dump is cloaked in the guise of a Childrens’ program much like Pee Wees’ Playhouse. But when Pee Wees’ King of Cartoons showed strange cartoons it was used to further the absurdities of the Playhouse parody universe. Cartoon Dump on the other hand has the characters lives influenced by and existing only as a means to show these terrible ‘toons’. There is social commentary of a dark and negative nature too that seems politically biased and heavy handed which only exacerbates the wait for an unpleasant cartoon experience.

Sorry Jerry, it’s just not my cup of tea. I would rather be entertained and learn from the best animated films. I’m already tainted by the cynicism of this world and the prostitution of my chosen profession. If I’m taking this too seriously, at least I’m doing it on my own blog and not in the comment section of Becks’ Cartoon Brew.

Eric Goldbergs' Book

Just pre-ordered this and it will be hard to wait for.

What To Keep

I was doing some housekeeping and came across these relics of my thirteen years spent at Will Vinton Studios. It again confirmed what a privilege it was to be there and the opportunities that were offered to us as employees. While there I met and unashamedly got the autographs of animator/writer/director Bill Plympton. Another time I had the opportunity to meet writer Buck Henry and again got his autograph. I also had a boat cruise with writer/director/actor Spike Lee and as a previous post called Sentimental Journey records I met other luminaries of the animation world. I feel very blessed to have had these experiences.

At another place I shook hands and talked with William Shatner. But that's another story.