Archive for the ‘art lozzi ruff and reddy’ Category

Wednesday, July 9th, 2014

Animation: Ruff And Reddy

Ruff n Reddy

In 1957, MGM shut down their animation department, but Bill Hanna and Joe Barbera were prepared. They immediately went into production on a low budget cartoon series designed for television. It was the seed that went on to grow into a television empire, yet the series hasn’t been distributed in years and few kids today know Ruff and Reddy the way they know other Hanna-Barbera creations like Yogi Bear and Fred Flintstone.

Ruff n ReddyRuff n ReddyHanna and Barbera knew that they had to make Ruff and Reddy quickly and cheaply. Within the space of a few months, their first airdate on NBC loomed. The tight budget and quick turnaround didn’t allow for much animation. The focus was put on the voices, layout and background styling. They designed the episodes as sequential cliffhangers- similar to the serials that played movie theaters in the thirties and forties. (The basic structure of the series was the same as the earlier TV cartoon series, Crusader Rabbit.)

The cartoons were designed to plug into a live action puppet show hosted by Jimmy Blaine, known for his characters Rubarb the Parrot and Jose the Toucan. Ruff and Reddy ended production in 1960. It continued in reruns on NBC in the Captain Bob Cottle show until 1964. After that, it was syndicated to local kiddie shows around the country.

Jimmi Blaine

The two key voice actors who worked on Ruff and Reddy went on to become the core cast members of the Hanna Barbera team throughout the coming years… Don Messick and Daws Butler.

Ruff n ReddyRuff n ReddyDaws Butler was well established as a voice actor by the time Hanna and Barbera formed their TV studio. He had been an integral part of Bob Clampett’s Time For Beany, as well as providing voices for many Lantz and MGM cartoons. Butler was skilled at ad libbing and vocal impressions, which led to an association with Stan Freberg on Freberg’s popular comedy records like "St. George and the Dragon-Net&quot.

Through the late forties and early fifties, Don Messick was a ventriloquist. In the late fifties, Tex Avery was looking for a voice for Droopy to replace Bill Thompson, who had left MGM to work for Disney. Daws Butler, who had been recording for Avery for some time, suggested his friend Messick for the job. As performers, Messick and Butler were perfectly matched. They became a team in a long string of cartoons produced by Hanna-Barbera… Boo Boo and Yogi, Pixie and Dixie, etc.

Ruff n ReddyRuff n ReddyAs a cartoon, Ruff and Reddy really doesn’t stand up too well. The stories are directionless, the animation is almost non-existent and the cartoons are excessively talky with way too much narration. They really aren’t a very good model for animators today to follow… except in one respect. Ruff and Reddy had remarkable design, layout and background styling. It set the standard for the great Hanna Barbera series that followed. I don’t know the names of the entire crew that worked on these early cartoons, but a few key artists stand out.

No one is more responsible for the look of the early Hanna-Barbera series than Ed Benedict. Benedict began his career at Disney and Lantz in the 1930s. In 1952, he joined Tex Avery at MGM to design the modernist cartoons, Field And Scream, The First Bad Man, Deputy Droopy and Cellbound. Benedict was one of the first artists hired by Bill Hanna and Joe Barbera to work on their television cartoons. He was the principle designer on Ruff and Reddy, Huckleberry Hound, Yogi Bear, Quick Draw McGraw and The Flintstones. Ed passed away last year. Read John K’s tribute on his blog, "All Kinds of Stuff".

Ruff n ReddyRuff n ReddyDick Bickenbach was a skilled draftsman with a strong sense of composition. He animated at Lantz, Warner Bros and MGM before joining Bill and Joe at their TV studio.
Because of his tight construction and clean line, his drawings were often used as models. In addition to design and layout duties on The Flintstones and Yogi Bear, he drew the comic book adaptations as well.

Art Lozzi was one of H-B’s main background painters. His use of color and texture in this particular cartoon is remarkable. John K has been interviewing Lozzi on his blog, "All Kinds of Stuff" See the following posts… Good Color Without A Lot of Money, Art Lozzi’s Technique on Skooter Looter and Art Lozzi on the Early Days of H-B

Carlo Vinci doesn’t have as much to do on Ruff and Reddy as he did on later H-B series like Huckleberry Hound and The Flintstones, but his hand is still evident in the animation. Vinci worked at Terry-Toons in New York for twenty years before moving west at the request of Joe Barbera. He was one of the first artists hired to work for the new TV studio, and he remained with H-B for twenty years.

RUFF AND REDDY MEET
PINKY THE PINT SIZED PACHYDERM

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Ruff and Reddy EPISODE ONE: Pinky The Pint Sized Pachyderm (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE TWO: Last Trip Of A Ghost Ship (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE THREE: The Irate Pirate (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE FOUR: Dynamite Fright (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE FIVE: Marooned In Typhoon Lagoon (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE SIX: Scarey Harry Safari (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE SEVEN: Jungle Jitters (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE EIGHT: Bungle In The Jungle (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE NINE: Miles Of Crocodiles (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE TEN: A Creep In The Deep (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE ELEVEN: Hot Shot’s Plot (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE TWELVE: The Gloom Of Doom (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Ruff and Reddy EPISODE THIRTEEN: The Trapped Trap The Trapper (Hanna-Barbera/1958) (Quicktime 7 / 9 megs)

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Stephen Worth
Director
Animation Resources

Animated CartoonsAnimated Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.

Friday, December 17th, 2010

Biography: Art Lozzi

This posting is a stub. You can contribute to this entry by providing information through the comments link at the bottom of this post. Please organize your information following the main category headers below….

Birth/Death

Birth: Oct 22, 1929

Occupation/Title

Retired BG Artist for Hanna-Barbera, Interior Design artist for Hilton hotels as well as painter and designer of Hilton boats

Bio Summary

Art Lozzi was born and raised in Everett Masachusetts when he was young. In high school, his grades were excellent that he would have been able to enter MIT and focus on architecture. However, due to the high cost, he instead went to the Massachusetts College of Art and Design where upon graduation, he entered the Navy and did storyboards for their training films. When he was honorably discharged from the Navy, he went to Calfiornia and attended UCLA in studio arts. However, shortly afterwards, he applied at MGM’s animation department where he worked as an inbetweener, mostly for Tom and Jerry. It was also at MGM that he transferred to Disney, and after Disney was Hanna-Barbera where he began to work on the backgrounds for their various cartoons. In 1964, as part of an architectural group that he participated in as a hobby, he was hired by Conrad Hilton to do the interior design and color schemes for his hotels. He did a lot of his design work while working for Hanna-Barbera at the same time, and continually moved between Greece and the US, also doing designs for large cruise ships for the Greek Epirotiki Cruise Lines

Early Life/Family

Saturday Mornign classes at the De Benedictis Studio, Classic Art Training in Boston, Acceptance into MIT/Architecture without entrance exams, entered Massachusetts College of Art, went to UCLA to study Theater Arts

Education/Training

Worked as an inbetweener at MGM and Disney, submitted humorous cartoons to magazines such as the New Yorker, designed holiday cards, worked on Tom Jerry mostly; was in the Navy in the Naval Training Films to work on storyboards, soon worked for Hannah Barbera in the 50s-60s; worked on architectural interior design for the Hilton Hotel Chain, moved to Europe to work on it as well as designing cruise ships and other designs for Hilton

Career Outline

Worked as an inbetweener at MGM and Disney, submitted humorous cartoons to magazines such as the New Yorker, designed holiday cards, worked on Tom Jerry mostly; was in the Navy in the Naval Training Films to work on storyboards, soon worked for Hannah Barbera in the 50s-60s; worked on architectural interior design for the Hilton Hotel Chain, moved to Europe to work on it as well as designing cruise ships and other designs for Hilton

Comments On Style

His method of doing BGs was to keep making backgrounds over and over and over, they had an established style for each show and developed it for each individual show, and once that was set up, new artists had to keep to the style so that each show would be unique. His BGs are very graphic in the sense that it was with simple shapes and excellent use of color to describe the setting of the story, especially since it was all done with natural media.

Influences

Likes detective stories and mind development books, refers to renaissance and some spiritual books for his favorite reading, was inspired by many classic artists.

“My sense of color attracted Conrad Hilton’s architect and I was offered positons with them, doing color planning for various Hiltons within Europe and North Africa: Cyprus, Athens, Malta, Rabat (Morocco), Cairo,Istanbul, Corfu and maybe a dozen more. This is what made me decide to transfer my life to Greece where I’ve been living for over 45years… mamma mia! ”

Personality

Anecdotes

Miscellaneous

Thanks to John Kricfalusi and his All Kinds of Stuff, Art Lozzi was rediscovered.

Filmography

Pixie and Dixie and Mr. Jinks (1958) TV series (layout artist)
The Huckleberry Hound Show (1958) TV series (background artist)
Count Down Clown (1961) (background artist)
The Yogi Bear Show (1961) TV series (background artist)
- The Flintstone Flyer (1960) TV episode (background artist)
The Flintstones (background artist) (4 episodes, 1960-1961)
- Fred Flintstone: Before and After (1961) TV episode (background artist)
- Love Letters on the Rocks (1961) TV episode (background artist)
- Hot Lips Hannigan (1960) TV episode (background artist)
The Jetsons (background artist) (2 episodes, 1962-1963)
- The Little Man (1963) TV episode (background artist)
- The Coming of Astro (1962) TV episode (background artist)
This Is My Ducky Day (1961) (background artist)
Raggedy Rug (1964) (background artist)
Hey There, It’s Yogi Bear (1964) (background designer)
Bear Knuckles (1964) (background artist)
Pork Chop Phooey (1965) (background artist)
Crow’s Fete (1965) (background artist)
The Man Called Flintstone (1966) (background designer)
Space Ghost (1966) TV series (background artist)
The Archie Show (1968) TV series (background artist)
The Batman/Superman Hour” (background artist) (3 episodes, 1968)
- Two Penguins Too Many (1968) TV episode (background artist)
- Superman: Can a Luthor Change His Spots? (1968) TV episode (background artist)
- The Cool, Cruel Mr. Freeze (1968) TV episode (background artist)
Fantastic Voyage” (1968) TV series (background artist)

Honors

Related Links

http://readersvoice.com/interviews/2007/August/

Bibliographic References

http://www.imdb.com/name/nm1145761/

http://readersvoice.com/interviews/2007/August/

http://johnkstuff.blogspot.com/2006/12/color-theory-art-lozzi-explains-some.html

BIO-AAA-476

Contributors To This Listing

Art Lozzi, Steven Kunz

To make additions or corrections to this listing, please click on COMMENTS below…