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JOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: BG PAINTING 4 / COLOR THEORY- ART LOZZI Animated characters and objects, of course, have to be painted flat, but this is why a textured bg adds depth and interest. Even on a one-color wall we add a shadow or a slight texture. On a flat sky we add a slight white cloud or two. Avoid bland. Use Contrast andVariations on a
JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place. JOHN K STUFF: A LITTLE ABOUT CANADIAN CULTURE AND UNIQUE THE STUBBY. STUBBIES! Canada is a nation in search of an identity. In fact the government spends tons of our tax dollars trying to invent one for us by keeping American culture away from us - but it doesn't work. It just delays us from discovering US cultural trends. Canada is by nature basically a milder version of American culture. JOHN K STUFF: MALIBU BEACH PARTY CARICATURE NIGHT Kali got a job doing caricatures at a party in Malibu and asked me to join in on the fun. That's Emma above. The party was in her honor. Here's her kid brother, Ellis who is a budding artist himself. Here are the party organizers and their flattertures. Kali knows hereyebrow biology.
JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: PRETTY GIRLS BY RASMUSSON Hal Rasmusson is a cartoonist who I only know of from the Walter T. Foster cartoon books. He draws pretty girls like a sonuvabitch. It's nice of him to explain some of how he does it too. JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: MY COMCAST COMMERCIAL IS UP AND MEET THE CREW THE KING OF KOREA. It was a real coup to capture the emperor of Korea and get him to supervise the production on the Comcast Triple Play commercial with free Nintendo DS. Seriously, King Marc took time away from aiming nuclear warheads at all the major cities in North America just because he loves to dabble with cartoons now and then. JOHN K STUFFSMOKEY THE BEARJOHN K. STOREDAWS BUTLERPETER PANPOOBERTY FISTMAINTAINING GUTS After I draw one character on a page I try to make the next one fit into the negative spaces of the other one's silhouette. The more characters I draw on the page the more challenging it becomes to fit a new character between the negative spaces of theJOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: BG PAINTING 4 / COLOR THEORY- ART LOZZI Animated characters and objects, of course, have to be painted flat, but this is why a textured bg adds depth and interest. Even on a one-color wall we add a shadow or a slight texture. On a flat sky we add a slight white cloud or two. Avoid bland. Use Contrast andVariations on a
JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place. JOHN K STUFF: A LITTLE ABOUT CANADIAN CULTURE AND UNIQUE THE STUBBY. STUBBIES! Canada is a nation in search of an identity. In fact the government spends tons of our tax dollars trying to invent one for us by keeping American culture away from us - but it doesn't work. It just delays us from discovering US cultural trends. Canada is by nature basically a milder version of American culture. JOHN K STUFF: MALIBU BEACH PARTY CARICATURE NIGHT Kali got a job doing caricatures at a party in Malibu and asked me to join in on the fun. That's Emma above. The party was in her honor. Here's her kid brother, Ellis who is a budding artist himself. Here are the party organizers and their flattertures. Kali knows hereyebrow biology.
JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: PRETTY GIRLS BY RASMUSSON Hal Rasmusson is a cartoonist who I only know of from the Walter T. Foster cartoon books. He draws pretty girls like a sonuvabitch. It's nice of him to explain some of how he does it too. JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: MY COMCAST COMMERCIAL IS UP AND MEET THE CREW THE KING OF KOREA. It was a real coup to capture the emperor of Korea and get him to supervise the production on the Comcast Triple Play commercial with free Nintendo DS. Seriously, King Marc took time away from aiming nuclear warheads at all the major cities in North America just because he loves to dabble with cartoons now and then. JOHN K STUFF: MORE HANDSOME CARTOON COMPOSITIONS Ger Apeldoorn is a great resource for rare cartoon art. He collects all the stuff that I would love to have. http://allthingsger.blogspot JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place. JOHN K STUFF: CHRIS RECCARDI REMEMBERED Chris Reccardi Remembered. We've lost a great talent and an old friend and colleague of mine. Chris and I go way back. We first worked together on 1988's Beany and Cecil, although he mostly drew for Eddie Fitzgerald's unit. Once we started the Ren and Stimpy series, he came on as a storyboard artist. He quickly became one of the top artists on JOHN K STUFF: GALLERY SHOW IN LAGUNA OF MY COLLECTION Here's some stuff that won't be there just because I had so much stuff they had to weedle it down to only the most glistening tasty development drawings, storyboards, layouts, animation, cels, backgrounds, toys and more from over 30 years of wackiness! Not just my drawings, but also work from many of the gifted animators, painters and cartoonists I've worked with. JOHN K STUFF: 10 X BEATS. FLIP THE FROG: DOUBLE BOUNCE WALK 10 x beats. Flip the Frog: double bounce walk. 1) What a double-bounce walk is and how to draw one. Different tempos in animation have different feels. A 12x beat is an easy natural feel. An 8x beat has a quick uptempo feel. A 10x beat is inbetween those 2. JOHN K STUFF: ANIMATION SCHOOL 8 The eyes are tiny. The front legs are way bigger than the back legs. CONTRASTS in proportions=exaggeration=cartoony=funny. Got it? *Interestingly, the only contrasts in this design are contrasts of size. The character is completely constructed of ovals. Varying the size contrasts alone makes it an appealing funny design. JOHN K STUFF: MALIBU BEACH PARTY CARICATURE NIGHT Kali got a job doing caricatures at a party in Malibu and asked me to join in on the fun. That's Emma above. The party was in her honor. Here's her kid brother, Ellis who is a budding artist himself. Here are the party organizers and their flattertures. Kali knows hereyebrow biology.
JOHN K STUFF: PRETTY GIRLS BY RASMUSSON Hal Rasmusson is a cartoonist who I only know of from the Walter T. Foster cartoon books. He draws pretty girls like a sonuvabitch. It's nice of him to explain some of how he does it too. JOHN K STUFF: MILT ON CLAMPETT PART 1 Milt On Clampett part 1. Milt Gray is an animator, director and cartoon historian. He has interviewed countless golden age animators and artists and was a personal friend of Bob Clampett. I first met Bob I think at Milt's. Milt has spent thousands of hours studying animation frame by frame from classic cartoons and is quite anarticulate writer
JOHN K STUFF: MILT GRAY ON CLAMPETT'S BLACK AND WHITE CARTOONS Milt Gray On Clampett's Black and White Cartoons. Intro. In case someone wonders what I am referring to as Clampett’s “successes” in his black-and-white cartoons, I thought I might identify some of them here. I was thinking primarily of the use of expressive animation (movement) to express a spirit of cartoon zaniness, and zanycharacters.
JOHN K STUFF: ANIMAL STUDIES I struggle to try to draw "realistic" sketches of beasts with the hope that I can later interpret what I learn into more cartoony designs. The problem is I rarely remember what IJOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: WHAT CARTOONS CAN DO What Cartoons Can Do. Cartoons can do things that no other medium can do. They used to do it all the time. These are from Dick Lundy's "Banquet Busters" 1948. You can float when you smell something heavenly. You can change into abstract shapes to convey your mood. You can propell yourself through the air by stretching and squashing. JOHN K STUFF: CARICATURE TIPS: FROM STUDY TO EVOLUTION 5 Push it all further. I tried to make the eyes bulgy and even more lopsided. The more I draw a person and get comfortable visually articulating her/his features the easier it gets to exaggerate distinct features. Although in this case, I forgot the angle on her lips. (I draw this stuff while the person is on TV talking in realtime and they
JOHN K STUFF: A LITTLE ABOUT CANADIAN CULTURE AND UNIQUE THE STUBBY. STUBBIES! Canada is a nation in search of an identity. In fact the government spends tons of our tax dollars trying to invent one for us by keeping American culture away from us - but it doesn't work. It just delays us from discovering US cultural trends. Canada is by nature basically a milder version of American culture. JOHN K STUFF: INKING ADVANCED PT 1 LOGICAL LINE WEIGHT. Here is a pencil drawing of a key pose from a scene. It needs to be inked. The inking has to make sure that the charactr reads easily and quickly. It needs to look solid. It needs a hierarchy of line weights. The lines need to flow around the forms. 1) HEAVIEST LINE WEIGHT. JOHN K STUFF: CHRIS RECCARDI REMEMBERED Chris Reccardi Remembered. We've lost a great talent and an old friend and colleague of mine. Chris and I go way back. We first worked together on 1988's Beany and Cecil, although he mostly drew for Eddie Fitzgerald's unit. Once we started the Ren and Stimpy series, he came on as a storyboard artist. He quickly became one of the top artists on JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequence JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: ANIMAL STUDIES I struggle to try to draw "realistic" sketches of beasts with the hope that I can later interpret what I learn into more cartoony designs. The problem is I rarely remember what IJOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: WHAT CARTOONS CAN DO What Cartoons Can Do. Cartoons can do things that no other medium can do. They used to do it all the time. These are from Dick Lundy's "Banquet Busters" 1948. You can float when you smell something heavenly. You can change into abstract shapes to convey your mood. You can propell yourself through the air by stretching and squashing. JOHN K STUFF: CARICATURE TIPS: FROM STUDY TO EVOLUTION 5 Push it all further. I tried to make the eyes bulgy and even more lopsided. The more I draw a person and get comfortable visually articulating her/his features the easier it gets to exaggerate distinct features. Although in this case, I forgot the angle on her lips. (I draw this stuff while the person is on TV talking in realtime and they
JOHN K STUFF: A LITTLE ABOUT CANADIAN CULTURE AND UNIQUE THE STUBBY. STUBBIES! Canada is a nation in search of an identity. In fact the government spends tons of our tax dollars trying to invent one for us by keeping American culture away from us - but it doesn't work. It just delays us from discovering US cultural trends. Canada is by nature basically a milder version of American culture. JOHN K STUFF: INKING ADVANCED PT 1 LOGICAL LINE WEIGHT. Here is a pencil drawing of a key pose from a scene. It needs to be inked. The inking has to make sure that the charactr reads easily and quickly. It needs to look solid. It needs a hierarchy of line weights. The lines need to flow around the forms. 1) HEAVIEST LINE WEIGHT. JOHN K STUFF: CHRIS RECCARDI REMEMBERED Chris Reccardi Remembered. We've lost a great talent and an old friend and colleague of mine. Chris and I go way back. We first worked together on 1988's Beany and Cecil, although he mostly drew for Eddie Fitzgerald's unit. Once we started the Ren and Stimpy series, he came on as a storyboard artist. He quickly became one of the top artists on JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequence JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: JANUARY 2021 After I draw one character on a page I try to make the next one fit into the negative spaces of the other one's silhouette. The more characters I draw on the page the more challenging it becomes to fit a new character between the negative spaces of the surroundingcharacters.
JOHN K STUFF: 80S CARTOON NOSTALGIA Maybe even the backgrounds. The model sheets in the 80s were very expressive too. You didn't have to make up any because they came up with all 4 of a character's expressions for you and all you had to do was trace them. Styles and trends appeared and went. One trend was to save ink by instead of drawing 2 complete eyes you could meld the 2eyes
JOHN K STUFF: CARICATURE TIPS: FROM STUDY TO EVOLUTION 5 Push it all further. I tried to make the eyes bulgy and even more lopsided. The more I draw a person and get comfortable visually articulating her/his features the easier it gets to exaggerate distinct features. Although in this case, I forgot the angle on her lips. (I draw this stuff while the person is on TV talking in realtime and they
JOHN K STUFF: MORE HANDSOME CARTOON COMPOSITIONS Ger Apeldoorn is a great resource for rare cartoon art. He collects all the stuff that I would love to have. http://allthingsger.blogspot JOHN K STUFF: INKING AND COLORING STEP BY STEP Import into TB Animate 3 and start inking. I have Harmony but I like the brush better in Animate. I usually start with the body, inking the biggest shapes first. JOHN K STUFF: THE LANGUAGE OF CARTOONS The Language Of Cartoons. As we all know, cartoons ideas and stories are written with drawings, accompanied by words for dialogue. The drawings don't need to be finished, totally on-model drawings of the characters. The cartoon story writer has to be more concerned with the story- continuity, acting, staging, gags clarity. JOHN K STUFF: PRETTY GIRLS BY RASMUSSON Hal Rasmusson is a cartoonist who I only know of from the Walter T. Foster cartoon books. He draws pretty girls like a sonuvabitch. It's nice of him to explain some of how he does it too. JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place.JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequenceJOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: ANIMAL STUDIES I struggle to try to draw "realistic" sketches of beasts with the hope that I can later interpret what I learn into more cartoony designs. The problem is I rarely remember what I JOHN K STUFF: CHRIS RECCARDI REMEMBERED Chris Reccardi Remembered. We've lost a great talent and an old friend and colleague of mine. Chris and I go way back. We first worked together on 1988's Beany and Cecil, although he mostly drew for Eddie Fitzgerald's unit. Once we started the Ren and Stimpy series, he came on as a storyboard artist. He quickly became one of the top artists on JOHN K STUFF: INKING ADVANCED PT 1 LOGICAL LINE WEIGHT. Here is a pencil drawing of a key pose from a scene. It needs to be inked. The inking has to make sure that the charactr reads easily and quickly. It needs to look solid. It needs a hierarchy of line weights. The lines need to flow around the forms. 1) HEAVIEST LINE WEIGHT. JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place.JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequence JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: WHAT'S NOT TO LOVE ABOUT INSANITY? EVERYDAY COMMON INSANITY - Losing Our Wits. But then there are the common every day forms of insanity we all experience: when we argue about politics, deal with executive logic, fall in love, get jealous, have road rage, practice religion, try to discipline the kids and expect them to obey us. The kind of normal common sense we apply whenwe
JOHN K STUFF: 2008
This is the modern descendent of Disney "appeal". It's not at all based on any true human feelings or experiences. It's merely the autopilot way of designing characters that follow what animators think is the way cartoons are supposed to look - animators who love Disney and let hardly any other influences into the medium without painting over them with big round wet sad drippy eyes.JOHN K STUFF: 2019
9 x 12 marker sketches. Ren and Stimpy show their intense love for each other. Mr. Horse ponders what to give his sheep for Christmas. George admires his idiot nephew's capacity for drool. Stimpy is proud of his turd mountain. It's shedding season for JOHN K STUFF: ANIMAL STUDIES I struggle to try to draw "realistic" sketches of beasts with the hope that I can later interpret what I learn into more cartoony designs. The problem is I rarely remember what I JOHN K STUFF: CHRIS RECCARDI REMEMBERED Chris Reccardi Remembered. We've lost a great talent and an old friend and colleague of mine. Chris and I go way back. We first worked together on 1988's Beany and Cecil, although he mostly drew for Eddie Fitzgerald's unit. Once we started the Ren and Stimpy series, he came on as a storyboard artist. He quickly became one of the top artists on JOHN K STUFF: INKING ADVANCED PT 1 LOGICAL LINE WEIGHT. Here is a pencil drawing of a key pose from a scene. It needs to be inked. The inking has to make sure that the charactr reads easily and quickly. It needs to look solid. It needs a hierarchy of line weights. The lines need to flow around the forms. 1) HEAVIEST LINE WEIGHT. JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place.JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequence JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: BILL PEET SAYS WHAT HE THINKS Bill Peet says what he thinks. I was just reading this really interesting interview with Bill Peet at Hogan's Alley. Peet is generally considered to be one of Walt's top story people. A writer who draws his stories. In the interview, he is very candid and saysthings that if
JOHN K STUFF: WHAT'S NOT TO LOVE ABOUT INSANITY? EVERYDAY COMMON INSANITY - Losing Our Wits. But then there are the common every day forms of insanity we all experience: when we argue about politics, deal with executive logic, fall in love, get jealous, have road rage, practice religion, try to discipline the kids and expect them to obey us. The kind of normal common sense we apply whenwe
JOHN K STUFF: 2008
This is the modern descendent of Disney "appeal". It's not at all based on any true human feelings or experiences. It's merely the autopilot way of designing characters that follow what animators think is the way cartoons are supposed to look - animators who love Disney and let hardly any other influences into the medium without painting over them with big round wet sad drippy eyes. JOHN K STUFF: ANIMATION SCHOOL LESSON 1/ CONSTRUCTION/ THE CONSTRUCTION is the most important concept you need to understand. It's like sculpting your drawings. Step 1- draw the form of your character first - a sphere, or a cranium or whatever the form looks like. Step 2- Draw center lines through the form both vertically and horizontally-. wrap those lines around the form in the right place. JOHN K STUFF: 10 X BEATS. FLIP THE FROG: DOUBLE BOUNCE WALK 10 x beats. Flip the Frog: double bounce walk. 1) What a double-bounce walk is and how to draw one. Different tempos in animation have different feels. A 12x beat is an easy natural feel. An 8x beat has a quick uptempo feel. A 10x beat is inbetween those 2. JOHN K STUFF: PRETTY GIRLS BY RASMUSSON Hal Rasmusson is a cartoonist who I only know of from the Walter T. Foster cartoon books. He draws pretty girls like a sonuvabitch. It's nice of him to explain some of how he does it too.JOHN K STUFF: 2012
He was the lead animator at WB in the 30s and early 40s and taught many of the other animators. He set the overall style of the studio's look and animation.He designed many of the Warner Bros. characters and animated the best acted, best looking Bugs Bunnies while working in Bob Clampett's unit. This is a beautiful and hilarious sequence JOHN K STUFF: PAINTING TECHNIQUE Color style and paint technique are 2 different skills and talents. All these paintings by Scott Wills have very clever color styling and expert technique. I've worked with a lot of talented painters. Scott stands out as someone who has a really high level of skill in technique. What I mean by technique (as opposed to color) is theability to
JOHN K STUFF: A SAD DAY That's how Mike would get into the role. He would play on our reactions. The more we laughed, the more energy he seemed to get. And he always wanted to do it one more time. The guy never quit. As the sessions went on, he would sweat more and more, and gradually remove his clothes until he was practically naked-which would only make uslaugh more.
JOHN K STUFF: MILT ON CLAMPETT PART 1 Milt On Clampett part 1. Milt Gray is an animator, director and cartoon historian. He has interviewed countless golden age animators and artists and was a personal friend of Bob Clampett. I first met Bob I think at Milt's. Milt has spent thousands of hours studying animation frame by frame from classic cartoons and is quite anarticulate writer
JOHN K STUFF: CLAMPETT'S DRAWING STYLE AND MILT GRAY ON Clampett also had the best looking Bugs Bunny. There are 2 model sheets drawn in 1942'43 by Bob McKimson that are almost the same. Clampett told me he went over McKimson's poses with a sheet of tracing paper and made suggestions to make Bugs more appealing. Clampett gave him eyes that were on angles for one thing. JOHN K STUFF: CALLING ALL GIRLS-THE HEARTACHES PILOT Here's Roxy. She plays guitar and collects vintage toys at flea markets. They all talk to her. Her favorite is the Curly Fuzz Poodle from a 60s cartoon show. JOHN K STUFF: WAYNE BORING'S SUPERMAN Wayne Boring is the best Superman artist in my opinion because he draws everything so wooden. The whole concept of a Superhero is crazy. Men with god-like powers who run around in long underwear taking the law into their own hands. - and normal people completely accept it! The fact that you can't recognize the secret identity of a superhero THURSDAY, APRIL 13, 2006 DESIGN 3 - ED BENEDICT AND FRED FLINTSTONE Ed Benedict is the greatest!My
favorite cartoon designer of all time is Ed Benedict. He's the guy who created the original Hanna Barbera style of the late 50s and early 60s. You're probably saying to yourself, "I thought John hated flat stuff!" I don't. I hate bad stuff. I hate bland stuff. I hatecheating.
Look
how funny these drawings are! These are the first finished models Ed did for the Flinstones. Then HB made him water them down a step before they accepted them for television. Then year by year Hanna Barbera continued to water them down more and more until they finally became ugly, wobbly and bland and unwatchable. They took out all of Ed's charm. God knows why. Ed taught me how to draw when I was a kid! He didn't know it but he did. I used to sit in front of the TV watching Yogi Bear, Huckleberry Hound, Quick Draw McGraw and The Flintstones with my drawing pads every day and draw as fast as I could. I memorized the design of every early HB character by the time I was 9years old.
I also copied the Warner Bros. characters from comic books, and Tom and Jerry (even though I had never seen a Tom and Jerry cartoon!) and Disney cartoons and anything else on TV or in comics. But my favorite characters to draw were always Ed's. I just loved the design of the Hanna Barbera cartoons and was aware that they actually HAD design. Most other cartoons were sort of generic-Disney, Warner Bros and MGM-I mean generic in design-they were all made of balls and pears. Hanna Barbera had a real look about it and it fascinated me. I could also tell all the animators apart just by the way they interpreted Ed's drawings. I didn't know any of them by name, but I had traits that I knew them by- That's the guy who draws crooked wrists (Carlo Vinci)-there's the guy with the upside down curly mouths (EdLove) etc. If you want to learn who they are, get on ebay and find the Flintstones Laser Disc Flintstones collection I produced-it's all explained in there and there are music videos Henry Porch cut together for each animator to help you recognize his styleWhat
I like about Ed's style of design is that he does all the things I like about cartoons at once. I love style. I love interesting design. I love funny. I love cute. And I love character. There are a lot of talented character designers from the 40s and 50s who have interesting looks-like Tom Oreb, but they create pure designs rather than characters and I want to believe that these magical cartoon creatures are real and have souls. You can tell just by looking at Ed's designs what the character is like. They aren't just wallpaper. I'm gonna post Barney next. The first models of him are hilarious. He's real retarded looking, like a cartoon writer! (except nice) Hey there's a couple great Golden Books painted by Mel Crawford that are actually drawn in Ed's style with poses right from these earlymodels!
Clarke Snyde has all the pages from "Pebbles Flintstone" - my all time favorite Golden Book. I went INSANE when I discovered this book at 10 years old. Mel Crawford is another fantastic cartoonist/illustrator/painter. Go check it out. It's so fun! http://inspiration-grab-bag.blogspot.com/2006/03/mel-crawford-pebbles-flintstone-1963.html Ed's style may look simple but don't be fooled. The guy is a real artist and can draw like an old time illustrator and in many styles. His cartoons look so great because he has strong fundamentals behindthem.
I'll talk more about him when I post the Barney models. Here's a real treat below, some practice designs as Ed was trying to figure out the look he wanted for The Flintstones. Ed is one of my all time heroes-a true cartoon genius! I have lots more of his stuff but it's all xeroxes and in the custody of Asifa's archive right now. Beg Steve over there to start puttingsome stuff up!
http://www.animationarchive.org/ Oh and he also has tapes of me interviewing Ed. Ed is hilarious! He's nothing like what you would expect from his drawing style. In case you didn't know, Ed is also the guy who designed and layed out the stylish Tex Avery cartoons from the 50s-like this great one! http://inspiration-grab-bag.blogspot.com/2006/03/deputy-droopy-1955-mgm.html Posted by JohnK at 5:55 PMLabels: Benedict
, Flintstone
, HB
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