Drawing during the week.

I've been doing a lot of (non-thesis) drawing lately, which is actually a good thing. It keeps me in better head space.

Just thought I'd post some of them.


A Gothic Mouse. I've been listening to the Cure a lot lately.



I love making lines and hatchings when I doodle.


I work in a film equiptment office. This page was filled up during a slow hour.


Some life drawing that went pretty well.


I think I'll hold off on writing about Hanna Barbera for a while. I've probably said all I need to say.

Daws Butler in the 1980's

I’m back at Pratt, and I have a long and stressful semester ahead of me. Thankfully, I am not alone; there are nearly twenty animators in my senior class, many of whom I hold in the highest regard. Hopefully, by the semester’s end, I should have a good film in my hands.


I was checking the official Daws Butler website recently, and saw this article about him, written back in 1985. Butler is perhaps best known as the major voice talent in the early Hanna Barbera period.


Anyway, I found the article to be quite an intrigue. By 1985, Hanna Barbera was going even lower creatively, and their shows from that period are barely remembered. Butler, who died in 1988, expresses his dissatisfaction with the animation industry in this article. I find it comforting to know he felt this way. I don’t want to repeat what the article said, so I clipped the part I liked. I suggest you read it.


Recently, somebody uploaded a bunch of episodes of a HB all-star show called Yogi’s Treasure Hunt on YouTube. And what can I say, other than its a really bad show. But its bad in rather amusing way. At least I am amused by it, because it stars characters I really enjoy. One thing that makes this show watchable are the voice talents employed in it. Among those are Charlie Adler, Michael Bell, and veterans Frank Welker, and Don Messick. I can safely say these guys provided the last little bit of soul left in these economically bloated shows.




And despite being able to afford more animation than before, the look of the shows is still terrible. The Korean labor practice is, in my opinion, one of the worst practices in the animation industry. There’s no director to approve, and there are mistakes that are more noticeable than ever. Bill Hanna and Joe Barbera blew so many opportunities to re-invent their characters, and take them to new heights.

If anybody wants to see these, I suggest the episodes “Goodbye Mr. Chump” and “Snow White and the Seven Treasure Hunters.” I chose not to embed them here, because I think I got the point across already.


John Kricfalusi took Yogi Bear to a whole new level with his Ranger Smith cartoons, the most notable of which is "Boo Boo Runs Wild." His cartoons proved a new way of bringing these characters to life, mostly due to his great admiration of character designer Ed Benedict.

What's the argument?

I've been sort of flaky recently in regards to the current Writers Guild Strike. It's one of those things that has details I can't seem to follow. However, in the last couple months, it seems to have influenced discussions on some animation blogs.



There seems to be a debate about the role of writers in animation. From what I know, the general consensus is that not all screenwriters can think in terms of an animated format. Many animation directors (as far as I know) still favor the process of relying upon storyboarding. It seems that up until some point in the 1980's, the industry standard was to start off with storyboards and illustrations, and then improvise and pitch ideas into the story. Of course, that's not to say that scriptwriting is unnecessary. But the general idea is that writing for animation requires a vast level of visualization. After all, animation is a visual medium.





Now I read about the defense and the insults of animation writers. Personally, I find it a little overblown. There shouldn't be (and doesn't seem to be) a one standard procedure for putting together an animated piece. It should depend on what the filmmakers want to accomplish, and estimate what's best for that particular piece.



John Kricfalusi makes cartoons. He believe that only cartoonists should write cartoons. As far as I can tell, everything John K. has done has has visual aid all the way.

Brad Bird, in a recent interview, talks about writing scripts long before the storyboard process. Yet he states that he writes with the knowledge of what animation is capable of.


Samurai Jack (one of the best animated shows of the last ten years) reportedly never had any scripts, and the artists improvised upon storyboards.

I find these arguments to be pointless. I like filmmakers who can try different things. If there's a process that works best for the individual, then good for them. Otherwise, a personal preference should not become an industry debate.




I feel like I should be putting more of my own drawings up here. I am not as excessive as most illustrators I know. However, if anybody wants to make a suggestion for something to draw, I'm open (I try to do this as much as possible).

Happy New Year 2008.

Happy New Year!


I wish it to my friends, family, and to anyone out there reading this blog.

This blog is also a year old. The anniversary is not exact, but what the hell.
This past year, I really caught the blog bug. I wanted to be a part of it, because these blogs really give individual artists many opportunities. It allows for artistic exposure, artistic insight, free lessons in animation, hidden treasures, and of course, the chance to show off your favorite animation and inspirations.







My blog is not as detailed as those of the pros (John Kricfalusi, Michael Sporn, Patrick Smith), as I cannot call myself one yet. I don’t have enough finished artwork to present excessive amounts of (Kali Fontecchio, Dan Pinto, many of John K’s readers). What I do have, as a student struggling to learn the language of a beloved artform, is a place to ask questions, show what inspires me, and open up about what I can’t seem to find anything on.

For me, the high point of this blog, so far, occured this past summer. I posted images from David T. Nethery’s web page of animator photos. Among the images I posted was one of animator Mark Kausler. I learned later on that a scandalous comment was made on my blog, accusing Mr. Kausler of being a pedophile. David Nethery contacted me, and said that some anonymous blogger had been making these false accusations. I quickly removed the comment. I took a screen grab of it, just in case any evidence was needed.


I have to say I was flattered. Because not only did it show that people other than my friends noticed my blog, but that I may have, in a very small way, helped out Mr. Kausler.



This past year, I finished my film, Ivan's Act, and submitted to a handful of festivals. It was accepted into the Animation Block Party back in July.



My new year’s resolution is complete another film. I look forward to finishing Parasite’s Delight this coming summer.

Happy New Year again.

Cartoon Burials

I have been in Cleveland for the last week, and have been lazy as hell. Nothing much to report on. I am taking a short break from Parasite's Delight. I should be back to animating by January 4th, at which I will be back at the Pratt studios in Brooklyn.

In the meantime, I have started watching a couple of (so-called) cartoon burials. First off is Private Snafu, a series of instructional films made by Warner Bros. during World War II. Although they were never meant for general audiences, I find them to be very impressive. And they are quite funny too (in a sick and offensive way). They are currently available as special features on the recent Looney Tunes Golden Collections (since volume 3).





The one below is entitled "Spies," and I consider it to be a perfect introduction to the series. I believe this one is directed by Chuck Jones, although I can't be too sure. I say that because I know Theodore "Dr. Seuss" Geisel wrote most of these, and worked closely with Jones. The one I really want to post is called "Rumors," but I can't find a good copy of it, and I don't like the YouTube version.



I am also struggling to watch the 1972 made-for-TV film Yogi's Ark Lark. So far, I have only seen the first 12 minutes of the 43 minute film, but I can certainly vouch for its mediocrity. But, in saying that, I can not deny that I have a soft spot these Hanna Barbera all-star shows, and watching them is something of a guilty pleasure. It's still better than the mushy Smurfs or Snorks.






I have another schizophrenic post coming up soon.

Artistic Schizophrenia

The following clip is The Cure in 1986. During the filming of a documentary, the group did an impromptu rendition of "Home On The Range."



Someone on YouTube left a comment about the Cure's musical schizophrenia. I like the idea of an artist being considered artistically schizophrenic. It's another, more interesting way of addressing one's diversity. You'd have to be quite a craftsman like Robert Smith (The Cure's leader) to be able to move in that many directions, and still maintain artistic integrity. I need to think more about this idea, but I would love to apply it to other artists.

Winter Break

Nothing new, I just want to keep my posts up. Winter Break has now begun here at Pratt Institute.

Animation wise, I am getting just a little done on Parasite's Delight. I am also trying to find some of Hanna Barbera's unfavorables. I used to be a huge fan of the all-star shows, particularly Yogi's Gang. As a little kid, it impressed me that there could be a whole community of animated characters. It's one of the things that inspires me to want to invent characters.

Unfortunately, they are not as timeless as other HB products, and so there isn't enough demand for these shows to be released on DVD, and are in rare print.



I just had to post this image. The Doggies' mouths fall off for a couple of frames.


I will be heading home to Cleveland next week, but I will still be posting.